170301
Published: 27th October, 2014
Last edited: 26th October, 2014
Created: 23rd October, 2014
This Fontstruction is for the theme "continuous". For this theme I began looking at words that relate to continuous, such as "journey" I then looked at ideas that relate to journey such as train tracks. However I felt that this would have been difficult to create in fontstruct, so I proceeded to look at other things that are similar in structure which resulted in me looking at the form of zips.
470525
Published: 9th January, 2014
Last edited: 9th January, 2014
Created: 9th January, 2014
Long live Art Deco!
This is my second attempt at mixing classic "Vanity Fair" angles with industrial gothic sans titling. Kerning issues everywhere... but I really like those edges!!
100520
Published: 4th December, 2012
Last edited: 4th December, 2012
Created: 3rd December, 2012
My first fontstruct design - note, i have not made any numbers and the lower case and uppercase letters are the same - may change later
250263
Published: 2nd May, 2024
Last edited: 4th November, 2013
Created: 14th October, 2013
Based on the theme of "order" my typeface is inspired by the aspects I have found within the structure of a tool such as, hinges and bolts. I got this idea when looking at the order involved in construction. A lot of adjustments are needed including the spacing. Any comments, suggestions or constructive criticism would be great!
1721742
Published: 21st March, 2014
Last edited: 15th April, 2014
Created: 7th February, 2014
The first of a set of "typewriter key" fonts. The letters have different heights, I aimed for larger size letters and some would not have fitted into the circle had I maintained the proportions. I gave the letters 'personality' through slanted elements which do not interfere with legibility but tend to disappear in small sizes.
There is a blank circle on the \ and alternate k on the {
90300
Published: 27th October, 2014
Last edited: 28th October, 2014
Created: 27th October, 2014
Based upon the Greek alphabet but twisted into something slightly reminiscent of Zeus and his Godly lightning powers.
61830
Published: 19th January, 2012
Last edited: 9th January, 2012
Created: 4th January, 2012
Typeface created with an emphasis on articulating ends with points. In conjunction with this a rhythmic harmony of a line width.
Created for a typography class, the project spanning roughly one week.This is a clone
180972
Published: 11th September, 2010
Last edited: 11th September, 2010
Created: 9th September, 2010
Finally with alot of help from Thalamic. This is what I call "sn Spores".
40981
Published: 8th April, 2011
Last edited: 8th April, 2011
Created: 6th March, 2011
This font features thick lines and round edges. I have tried to maintain uniformity and offer all decent font, but I find that some characters are out of sync with the rest. Do advise me how to rectify this and make it completely professional.
110981
Published: 25th October, 2011
Last edited: 25th October, 2011
Created: 25th October, 2011
Just like Simple Type Plain only this has a bubble-like property.This is a clone of Simple Type Plain
273987
Published: 16th June, 2013
Last edited: 15th June, 2013
Created: 8th May, 2013
Sasando Rote typeface is adapted from Traditional Musical Instrument from Rote Island, East Nusa Tenggara in Indonesia "Sasando". The sasando instrument from East Nusa Tenggara’s Rote Island has long been hidden and only visible in books, but the persistence of musicians from the instrument’s homeland is slowly bringing it to the fore. This typeface was made as tribute for indigenous art of music from East Nusa Tenggara.
153771
Published: 25th June, 2009
Last edited: 26th June, 2009
Created: 24th June, 2009
A 7 LED high instructional typeface to replace current type on LUAS Transport in Dublin, Ireland.
http://sefsar.com/index.php?/sarhan-px1---typeface/This is a clone
212863
Published: 26th October, 2011
Last edited: 19th September, 2011
Created: 19th September, 2011
The Resolution font is designed as a conceptual piece of work, complementing my research in the cognitive and graphic aspects of type. I began working with this form in the summer of 2011 by creating the symbols which would fit into a certain matrix and consist of as little square pixels as possible, thus approaching the conceptual and peceptual boundaries of legibility. After Resolution 3x4 I went further and designed Resolution 3x3, which is even more closer to the limit of legibility than 3x4.
There is an important aspect in such minimalistic and conceptual approach–-it is the similarity of these types with the weaving patterns, which can be traced back to many archaic European cultures. The Resolution font makes a tribute to these original, pre-alphabetic systems of information encoding through weaving patterns.
At the same time Resolution font is made to emphasize the importance of square pixel as a structural and conceptual limit of digital reality, which comes to an end when a certain resolution is reached. It applies both to visual encoding of information (with pixel as a graphic building block) and the structure of information proper (the true-false logic). Instead of creating the illusion of continuity, Resolution font is about being aware of the media and digital (and thus quantized) nature of an image which is falsely perceived as continuous.