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each print run. The Riso is not perfect, and I think that is one of my favorite things about the process. The colors are not always registered correctly; they don’t always mimic the file you create digitally, and I love to embrace that imperfection in my work.
What’s next for you? I wrapped up my MFA thesis in May 2020 at MICA in Balti- more. I developed a fictional type foundry called Extra Bold Italic, and I designed four typefaces that challenge the binaries in typeface design. Just like binaries related to gender, traditional type design show- cases a certain set of either/or binaries, like roman/italic or serif/sans serif. The preference for vertical stress is very Western. I worked on designing typefaces that provide an alternate point of view. The
SOURCE Interview adapted and expanded from Ash Highfill, “An Interview with Shivani Parasnis,” Femme Type, Jun 15, 2020 >femme- type.com/an-interview-with-shivani- parasnis/.
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process was exciting and stressful at the same time, primarily because I had never done type design before. For me, design- ing the applications of my typefaces was equally important, beyond just creating a typeface and a typical type specimen.
I focused on creating content that not only used my typefaces but also followed and advanced my design aesthetic.
Tell us about the typeface you designed for Extra Bold. This typeface challenges Latin type design traditions. While some letters are reverse-stressed, some appear monoline and others have a more stan- dard vertical stress. Playful counters and absurd anatomies resonate throughout the font. The typeface was designed for bold headlines.