Dehumanised is a typeface drawn forth from the deepest parts of a mind challenged by illness and intrusive thoughts. It hopes to create an avenue of expression through its bold, sans-serif design combined with a strong theme of slashing and debris. It was informed by the illustrative manifestation of anxious, angry thoughts cutting through simple day to day life and new ways to combine different versions of destruction into a dystopic yet coherent typeface.
Made to print some decorative corners on A4 sheets; this will make a novel Yule gift for someone lucky enough to know me ;)
Of course it could also be used as a code:D
I created this typeface around the theme of gregarious, focusing on gregarious plants. I started with drawing the letterforms in ink using a rolled up leaf. The results were twig-like marks which reminded me of the illustrations from 'A Monster Calls' so I developed the letters thinking how they could work alongside this or another story. The name 'This Wild Earth' is taken from the book and I think reflects the scratchy and bold feel of the typeface.
In this typeface, I have explored the idea of order and systematic design in an urban surrounding. Following the natural lines from the cement of a regular brick wall I have used the repetitive pattern and method to mark the outline to my type face. This font is primarily created for using in titles and headings rather than in a body of text as it is more impacting as well as visually striking and eye catching.
First there is a flourish, in which the beauty of progression is materialised through growth. Followed by distortion and an imminent spoil - I was inspired by this cyclic process.
Angles cant quite define this typeface, so 'Spoiler' as a decorative font chooses to ignore certain standardisation rules; each letter tries to recoil back into what came before.
The lettering, as I discovered through paper manipulation and layering, works organically off screen, for collage and mixed media poster design.
This font is based off the theme 'Wicked'. This is just a draft, but it is a complete set so I will leave it up to show my progress. This font uses spooky dead trees to make letter forms. This was not intended to have anything to do with Halloween, but the full set of characters was completed on this fateful 31st. Feedback is welcome!
This had the look of the original reverse-comp entry. Then the save ignored me, as you can see. Another of my basic fonts died in silence.
I've returned too late to make a special font for the Reversecomp. I already had changed some aspects of the "Lord Calendulos" version of Calendula set in the clone taken and finished this Lady version today. As my competition entry I flipped the Lady Calendula glyphs horizontally. This means my reversecomp entry font "Calendula Lady" can be used like a plane shadow when placed under Lady Calendula.This is a clone of Lady Calendula
Taking the idea of "reverse" to a heady level of crazy ;) It's based on 'Solstice Wege'.
I know it's the clone of the WEGE version but it still took some time to flipand/reverse parts of each glyph to obtain an interesting visual without having something hopelessly messy ... I enjoyed flipping and reversing to deconstruct the original to get a disrupted look while maintaining aesthetics.3rd entry for the reversecompThis is a clone of n8 Solstice Wege
Reverse in the visual context can mean many things. I decided to create letters and mirrored them, attaching them to a spine.The letters looked like filigree jewellery pendants.
I know that the I , T and W don't follow the design rule; I tried to align them on a spine but the result was unsatisfactory.This is a clone
Here you can see my headache relating to composites for the new bricks. The 4-way link shows that our present 16 brick limit for composites is insufficient if we want precision joins. I discovered this also with the 1 and 3 linebricks. I wonder how Meek managed to create the bricks ;)
This is the 'positive' version to the 'negative design' n8 Solstice versions and shows that the boxy look seen there is softened through curves and airy lines. There is a lot of charme and elegance in the glyphs. The Q, Z and 2 gave me so many problems in the parent font, here we see why; I think I succeeded using the decorated boxes I introduced in the parent font, to create interesting slanted lines in some glyphs that can have tricky slants. This isn't for the reversecomp even though I made it after the Solstice versions white-on-black.This is a clone of n8 Solstice Wege
I had thought of making this my 2nd competition entry but while it's attractive it lacks something.
It shows all horizontal and vertical lines that weren't placed in its parent font "n8 Solstice noir". But the font itself still uses white cut-outs in a a black rectangle.
Somehow this presentation reminds me of a lino print, stencil, photographic negative.
The original font didn't disturb me, this design however kept nagging me, wanting to get out as a positive. I couldn't resist this demand and turned its clone into the usual black-on-white presentation 'Solstice Day'This is a clone
I decided that turning a "usual black-on-white" font would be a good way to reverse a font; hence some glyphs are easier to understand than others. I think that artistic minds will enjoy the graphic feel of the quirkiness :)
For some a certain type of (future) text I'll use some of the more abstract looking glyphs as decorative inserts and frames.
The font's name is taken from The Emerald Tablet.
Inspired by a lace edged table cloth. Good for a word of greeting on a card for Easter (or Ostara, but you're a day late ;) so you best grab it for next year... ) It would be great to use on cards, labels, book bindings, for someone doing needlework, crochet, knitting, tatting, macramé, sewing, stencil work and similar paper or thread based crafts.This is a clone of Kerbe2
A typeface inspired by American typefaces from the 1800s and the Art Deco-styled coffee shop I visit often in Des Moines, Iowa.
Combining a slab-serif, expanded typeface with ornate detailing brought challenging consideration to the legibility of the font. It’s used best for short, bold messages or an energetic initial cap.
Based on the theme of 'Energetic', this typeface is inspired by the footprints which teach people how to dance. The unrepeated pattern of footprint suggests spontaneity, and it also makes the typeface looks unusal and stands out. The font is designed to be decorative and to be use selectively. I think it will be suitable to party poster or promotion.
This type face is based off of the word decorate and the adjective decorative. Within the development of this design I took inspiration from embellishment and a craft style of working which is how the cross stitch came to light. This type is lowercase, it is meant for smaller bodies text. It will work best in a 12 or 14pt body as if the type is too small it will be difficult to see the detail. Though CrossStitchNS is probably not suitable for headers it would be perfect for texts such as invitations. I hope you enjoy this font as much as I enjoyed making it. x