Norse Sans is a very new design that I have just started. The concept was built on drawing an /r where the join was thin and the ear started higher and dropped – being calligraphic in form. My thought was this was distinctive and I could develop other forms based on this idea. However, I wasn’t convinced that the original master was performing in text settings so I added an optical axis (text) where the joins are thickened up and spacing is looser and added details to the display (non-text) style. It’s all really explorative at this rate. In the near future I will look to add italics and but keep the glyph palette relatively small.
A serif typeface currently development that explored the concept of grades. Meaning a slight increase in weight to make the text appear heavier or lighter when printed. Grade 1, the lighter is in red and Grade 4 the heavier is in white. Notice the subtle difference in the increase of width, but the flow of text is not effected! Behind all of that is the bold weight, which is being used to interpolate other weights with the Regular’s G1 and G4. Effectively, it will be a 20 style family, not yet including italics. It does include small caps, four sets of figures, case-sensitive punctuation, and a large latin language support.
I took some images of interesting signage for a speed drawing exercises after being inspired by my type mentor @dianaovezea and her exercises. I took some pictures of interesting signage in my old home-town of Bath, Maine to inspire me. This is speed drawing test one of two. A geometric slab serif with a 15 degree slope. My favorite part is designing the letters that don’t already exist and using the parts of the original to surmise what makes sense.
Here is part 2 of 3 of the Bath, Maine speed type challenge. This was similar to the last one in that it’s a bold italic but has a different serif-style and lowercase characters to contemplate. My favorites so far are the M, T and K.
Below are a few specimens of a humanist / blackletter hybrid design I created for a soil-plant guru consultant. It evolved a lot over the last few months and really started to make progress after consulting with my typography mentor, Diana Ovezea. The Capitals and Small Caps take their shapes and structure from traditional roman caps with sharp internal strokes in more rigid style. The lowercase forms feature a humanist skeleton but are quick and sharp, like you would see in a blackletter design. This is most noticeable in characters like b, p, q, d and o, c, e. Although, not shown yet, there is extended latin support for over 80% of the languages spoken around the world. Some additional features of this type family are ligatures, stylistic alternates, fractions, lining figures, tabular figures and punctuation as well as Uppercase punctuation.
Some of my calligraphy practice...
I've been really interested in typography and type design the past couple years. As a result of my interest, I created the design above. It started out a basic humanist sans, but have been growing to really appreciate grotesque faces with a flair of calligraphy, much like Bureau Grot designed by David Berlow and others at The Font Bureau. There are still some weaknesses to this design, but feel that it is a good start and hope to continue working on it and expanding the face to multiple weights.