184342669
Published: 17th April, 2011
Last edited: 22nd April, 2011
Created: 17th April, 2011
*Updated to 26 characters*
I started this Fontstruction with a blank canvas and blank mind, and decided to draw my phone (guess which one that is!) to just warm up. Before I knew it, the idea for the whole design was staring me right in the face. Hopping around the internet, looking for images and information on which phones to draw was great fun. Who knew that the first ‘personal communicator’ was the IBM South Bell Simon, which combined the features of a mobile phone, a pager, a PDA, and a fax machine. Yes, you read that right! The Simon was also nine inches tall.
2664267153
Published: 17th February, 2011
Last edited: 16th March, 2011
Created: 7th June, 2010
OK.
Here's "VUVUZELA"
A typeface inspired by the continent of africa, but mainly by the WorldCup of soccer 2010 in South Africa!
To catch on of the strongest associations for me relating to africa, i chose black and white stripes, maybe to remind of zebras or other animal patterns. But the effect also stands for the "swoosh" of a ball flyin by, for just the the "sporty" feel i wanted it to have.
Enjoy it.
There's an alternative "a" on "="
cheers kix
213143469
Published: 12th March, 2010
Last edited: 12th March, 2010
Created: 2nd March, 2010
Wypeout: Gradient Halftone Slab Serif. This took the longest time to get to download.
Less Than = Start Gradient Fade
Greater Than = End Gradient Fade
( = Start Hard Fade
) = End Hard Fade
OK. I'm done.
Larger sample image here.This is a clone
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.”