Panóptico de Actualidad Gráfica y Visual
“The main inspiration behind our Potra font was space, the future, time and the universe. With simple and rounded strokes, we sought to generate a technological and futuristic aesthetic. Regarding morphology, an attempt was made to imitate the path that a shooting star generates in its displacement.”...
“We want to evolve 3D type beyond basic depth extrusions, so we view them as type sculptures, where we not only design the frontal face of a type, but all its facets. How would the type look from an angle as a real-life installation? How do we make it delightful when people walk around these fabrications in the real world...
“When I start a font, I try to create something new and this often leads to prohibited places, shapes that we learn to avoid. Jaune started like that. My pretty simple idea was, instead of avoiding accidental encounters between paths in the bolder weights, to close everything and to treat these encounters as sticky but slick inktraps. I started with...
“The end of 2020 will mark the release of a new 29LT type system inspired by the Aljamiado script used by the Moors of medieval Spain. After months of intensive research on the manuscripts and analyzing their linguistic and typographic aspects, we came up with the idea of creating a new type family consisting of several styles ranging from geometric...
“Making letters fall down like dominoes. Labil Grotesk started as a mere afternoon pastime that I eventually turned into my master’s thesis. One thing led to another and soon I was going down the rabbit hole of researching typographic classifications and genres that would represent the core idea in the most eloquent way. I settled on a somewhat generic, unassuming...
Glyph44 creates and publishes high-quality display and custom typefaces for print and digital media....
“Escos and Escos Display were inspired by the desire to create a new structure of writing and construction of signs. That is, not just the graphics, but the writing system itself. In the current system, all signs are constructed rationally and logically. But I thought, what if you leave only one or two directions for strokes — vertical and diagonal...
“My most conceptual work is the Austral family, consisting of Serif and Sans Serif versions. I designed this with a road-trip in mind, centred on the part of Argentina in which I live. Deriving inspiration from different objects and textures, I had to take photographs of rust, water, humidity marks, dirt, maps and road lines. Its irregular strokes reflect silhouettes...
“My graduation typeface Shequalin was designed around the urge to create a visual voice for sophisticated, humorous literature. Be it satirical or Dadaistic poetry, escapist or fictive novels, Shequalin seamlessly suits works by masters of the comical word. To maintain the reader’s alertness, it rhythmically drops in oddities without distracting from the reading flow. Roman and Italic are designed to...
“My typeface designs are more about what visually pleases me than important aspects of type design such as readability, precision and consistency. They’re about graphic rhythm, flow and balance and act more like design pieces than actual typography. I’m typically inspired by the juxtaposition between different aspects such as thick and thin, organic and machined, static and moving, classic and...
“I can’t recall how the name came to be, but I’m sure it also sprung to life on its own. The word ‘font’ had to be included at all costs, and ‘fabric’ carries a message of production, craftsmanship, and handcrafted details. When the two came together, I felt inspired and confident that this was the right brand to build.” —...
“Stravinsky was a fun story. Originally the typeface was part of a visual identity for an electronic music composer called Stravinsky Disaster — an experimental project fusing classical music with modern electronic beats. The idea of the typeface reinforces this idea by fusing the 18th-century Didot vertical contrast and its squarish counters with the contemporary sans-serif Grotesk form.”...
