My font was inspired by the way pixels have been used by other designers in the late 20th century, in particular, Peter Saville’s Original die-cut sleeve album cover for New Order’s Blue Monday single, Wim Crowel’s new alphabet used by Brett Wickens in Joy Division’s compilation album Substance cover. The font was modeled on digitalized letters. To produce it I have used techniques from traditional calligraphy (drawing, use of pencil and ink on paper) to create an effect usually generate instantaneously by computer coding in order to stress the tension between the finished piece and the production behind it. The tension between the two and the uncertainty are represented in the font by the missing and misplaced pixels in each letter.
This is a cloneA logotype for retro-tech hardware inspired by Roc Mitchell's Corporate phototype series (aka Limited/Limited View and Logos/LogoStyle) from the 1970's. Free for personal use only. Alternate characters list: @ - P * - J # - L < - A > - t ^ - e { - F } - R ~ - K © - g ® - D § - S ¤ - E ‹ - A › - A ¹ - A ¼ - 4 ½ - m ¾ - w ² - V ³ - V ª - a « - p » - q † - f
Tried coming up for one of a few default fonts for a fictional computer operating system I came up with called COMIX_NT. I based it a bit off of Computerfont (a personal favorite of mine) and gave it serifs - overall, a janky, yet (hopefully) charming typeface.
My font theme is systematic, I aimed to make a font that was precise and but also referenced technology in the patterns of a motherboard and the pixelated style. The dots also help form the illusion of curves.
easily one of my largest fonts.
Includes Latin, Hebrew, Cyrillic, and more.