316377658
Published: 21st June, 2009
Last edited: 20th December, 2009
Created: 29th January, 2009
Just like in "Underwörld" i tried to create something between the old styles and modern fontdesign.
work in progress
70196217
Published: 1st November, 2009
Last edited: 18th December, 2009
Created: 14th August, 2009
This is an experiment to blend blackletter and modern serif elements. Work in progress.
46757353
Published: 20th June, 2008
Last edited: 14th December, 2009
Created: 20th June, 2008
An experimental face focusing on contrasting shapes and color.
1401622738
Published: 1st July, 2009
Last edited: 11th December, 2009
Created: 4th June, 2009
A mono-height, 60s inspired font.
I'm not 100% sure about some of the uppercase characters - mostly the later ones... so all comments are gratefully recieved.
Oh, and more latin characters are on the way...
418116630
Published: 18th November, 2008
Last edited: 4th December, 2009
Created: 18th November, 2008
A mash-up of sorts. Microgramma meets Dr. Robert Moog.
136256916
Published: 20th April, 2009
Last edited: 4th December, 2009
Created: 17th April, 2009
I bought one of those 3D Pin Art things at a garage sale a couple weeks ago. Turns out making 3D impressions of "The Bird" doesn't hold the same cultural currency now as it did when I was in Junior High, so I decided to cash in another way and make some letters.This is a clone
16866824
Published: 10th February, 2009
Last edited: 23rd November, 2009
Created: 9th February, 2009
Loosely based on several styles of letter and numeral forms observed on various aircrafts at the Evergreen Aviation & Space Museum in McMinnville, Oregon. The museum is home of Howard Hughes Flying Boat H-4 Hercules (aka, the Spruce Goose).
Jetstream is a clone of Perforate. Jetstream's x-height is higher. The uppercase horizontals are narrower. The lowercase 'a' was made two-story. Without the constraints of the perforations, I was able to better center the crossbar of lowercase 'e', 's' and 'x'. Some numerals have also been modified.This is a clone of Perforate
309162787
Published: 8th November, 2009
Last edited: 9th November, 2009
Created: 20th October, 2009
I began by exploring the theme of decaying objects, such as fruit, and studied the shape (and change of shape) of the objects, as they progressively fell apart. By creating hand drawn sketches i began to create a typeface that looked as though it was rotting/melting away. I used a traditional typeface, Times New Roman, that could be considered as quite boring and a font which has been around for a long time and then used it as a base font which i then made to look as though it was rotting and falling apart by refering back to my earlier sketches. Overall I aimed to create a typeface that represents the decay of an older, more traditional and perhaps overused typeface.
2361516
Published: 8th November, 2009
Last edited: 9th November, 2009
Created: 8th November, 2009
I wanted to do a version of infix without the letters inside, but some of the letters were only distinguishable because the other letter was inside (D and O for example).This is a clone of Infix
443821031
Published: 8th November, 2009
Last edited: 9th November, 2009
Created: 6th November, 2009
this is the rework of my original which was a clone of Cube Style by gaiatata. i redid since i wanted to restrict the license but couldn't. also added additional glyphs :)
77116638
Published: 28th April, 2024
Last edited: 5th November, 2009
Created: 21st October, 2009
Sans Vs Serif was done for my Graphic Design course. It is built around the idea of chaos and fuses characters from Georgia and Futura Italic, one sans-serif, one serif.
31911923
Published: 7th September, 2009
Last edited: 4th November, 2009
Created: 4th September, 2009
This is the bigger brother of Eärendil. Same concept with small modifications here and there. Medieval numbers.
65776221
Published: 26th October, 2009
Last edited: 4th November, 2009
Created: 1st October, 2009
For a full description see Sans Serious IThis is a clone
2441394
Published: 29th October, 2009
Last edited: 3rd November, 2009
Created: 27th October, 2009
A non-pixel version of pixies.This is a clone of Pixies
59476218
Published: 28th October, 2009
Last edited: 27th October, 2009
Created: 27th October, 2009
For a full description see Sans Serious IThis is a clone of Sans Serious I
370710526
Published: 14th July, 2009
Last edited: 16th October, 2009
Created: 12th July, 2009
"Kunchey" is the term used in north India to refer to both a game played with marbles, and the marbles themselves.
145208537
Published: 12th October, 2009
Last edited: 12th October, 2009
Created: 11th October, 2009
This was fun to do.
---Not liking the e and the s so much. ---While doing the sample, I found that even though the inter-character spacing is specifically set to one grid space wide, Photoshop was rendering the spacing differently per character pair. Same in Illustrator. Curious, I opened it in FontLab Studio. Turns out, the characters that have a half-wide brick left of the left edge in FontStruct are another half-brick-width over in the TrueType file. The sample is, therefore, manually kerned back to original.
1271420039
Published: 3rd October, 2009
Last edited: 3rd October, 2009
Created: 25th January, 2009
Cleaning out the queue. I can't believe this one has been sitting in here for *gulp* eight months! I figure if I don't kick it out now, then it will sit here sequestered for another eight.
The title is inspired by my struggles to space this one properly.
A work in progress. Taking any and all feedback - especially for spacing.
Works best at specific sizes. Enjoy.This is a clone
1371988
Published: 16th September, 2008
Last edited: 3rd October, 2009
Created: 14th September, 2008
The Chesterfield Royal Family was formed from my desire to add new weights to the original Chesterfield typeface. In the process of drawing these new weights, I began modifying some of the forms of the new glyphs away from the original Chesterfield glyphs in order to build a more flexible brick/grid structure for the development of various weights. The most noticeable difference between these three new faces and the original is the lowered x-height. That said, there are still some compromises between the different weights and because of that I've given them these royalty names instead of the normal practice of light, regular, and bold weight names. One of the biggest compromises occurs in the Prince weight, where I was unable to add the notch where bowls and shoulders meet stems (see King and Queen weights) without adding too much extra black weight to those parts of the glyph.
A work in progress for sure. Any help/thoughts/repulsions/bile appreciated.
3251628
Published: 30th October, 2009
Last edited: 2nd October, 2009
Created: 2nd October, 2009
For a full description see Sans Serious IThis is a clone of Sans Serious III
1274146257
Published: 26th October, 2009
Last edited: 2nd October, 2009
Created: 1st October, 2009
The ‘Sans Serious’ Series is a group of tribute typefaces meant to honor Dutch designer and typographer Jurriaan Schrofer.
Along with Wim Crouwel and Josef Albers, Jurrian Schrofer (1926 - 1990) was among the Bauhaus pioneers of grid-based modular typography and design.
Schrofer's work experimented with type, light, and color and focused on mathematical shapes and pattern.
“Schrofer made several attempts to create complete typefaces - one of which was wittily calledSans serious- but this was never his goal. ‘Is it necessary’, he wrote, ‘to make complete alphabets with upper- and lowercase, figures, diacritics and seriously adorned with a name, when the aim is merely a formal investigation into basic recipes’ Schrofer's domain was never the design of typographic alphabets, to be used by other designers, but always the creation of letterforms ‘made to measure’ as part of his own designs of - mainly - book covers and postage stamps. He created a rectangular alphabet as the basic element of his ever-changing covers - each based of the same grid but colored differently - for a series of scientific books, ‘Les textes sociologiques’ from Mouton Publishers. He made sophisticated pixel-based letters, all drawn by hand, and experimented with photographic screens as a means of distinguishing simplified letterforms from the background. He created logotypes built from custom-made letterforms, based on rectangular grids.”
“In his booklet ‘Letters op maat’ (‘Type made to measure’, 1987), Schrofer presented many of his experimental alphabets from the 1960s and '70s. The booklet was part of a series of goodwill publications edited by Wim Crouwel for Lecturis Printers, Eindhoven.”
491016210
Published: 4th February, 2009
Last edited: 13th September, 2009
Created: 30th January, 2009
The Factory fontstruction is dedicated to the good folks working to pass the Employment Free Choice Act (EFCA) through the 111th United States Congress. Team up!