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...


Update to the Humanist design! I've added a sans to this type-family. I have also made some minor tweaks to the serif style to help improve legibility and readability. Overall, I am very happy with the early look and feel of this typeface which is intended to be used for corporate-business communications and more serious environments. Above is a test situation in a resume.

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Further work in progress on the wedge serif. I have made some nice progress on this, currently having numerals, punctuation some extended latin characters and started developing the bold which is coming along in tandem. Here is a screen shot of the regular weight...

A new design I am currently working on by myself. My goal is a to create a typeface that is correct in thick and thin weight placement and proportions that are comfortable for reading in extended text settings. Categorically speaking, this would be considered a contemporary serif with it's wedge shape serifs and calligraphic forms.

A new design I am currently working on by myself. My goal is a to create a typeface that is correct in thick and thin weight placement and proportions that are comfortable for reading in extended text settings. Categorically speaking, this would be considered a contemporary serif with it's wedge shape serifs and calligraphic forms.

A bodoni design, I call Joedoni in magazine layout mock-up. I've been working on this design for the last couple of months and have created 4 weights: thin, regular, bold and black, which is the style used below. The lesson with designing this style of typeface is to get all of the thin and thick strokes consistent from one letter to the next, create smooth curves and learn spacing for a display face. For now this design is finished until possibly re-visiting in the future where italics could also be added.

A bodoni design, I call Joedoni in magazine layout mock-up. I've been working on this design for the last couple of months and have created 4 weights: thin, regular, bold and black, which is the style used below. The lesson with designing this style of typeface is to get all of the thin and thick strokes consistent from one letter to the next, create smooth curves and learn spacing for a display face. For now this design is finished until possibly re-visiting in the future where italics could also be added.

a look at a humanist wedge serif design I am currently working on. It grew out of another wedge serif design I am also working on. They are in the very early stages but thanks to my type design mentor, Diana Ovezea!

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.