Womb

Womb (2005)

Womb was typeface designed as part of the ‘Everything in Between’ workshops run by 3 Deep Design in Melbourne, Australia. For this exercise we were given a letter of the alphabet (in my case ‘O’) and briefed to create a letterform/typeface around it.

With no other information to go off, I realized that at the time I always started my typefaces with the letter ‘O’ and therefore saw it as the ‘Mother’ of the letterforms. Based on this idea, I created each letter out of a series of shapes torn from thick black card and arranged each piece to create the various forms. The aim of which was to simulate a baby moving in a womb.

These shapes were later digitised.

Spiral

Spiral (2006)

Spiral seeks to apply the additional detail in a way that is intended to provide added function to each letterform. These letterforms are designed to increase the level of flexibility of their use by allowing a reader to view and apply the shapes on four alternate axes.

Skyline

Skyline (2005)

Skyline is an exploration into particle-based type. For this typeface I wanted to investigate abnormal letter shapes and hidden familiarity to other concepts. In this case the letterforms took varying shapes and sizes while being influenced by a city skyline.

Open

Open (2005)

This typeface is base on the simple idea of ‘What if there were no closed off letters?’ and to explore this I designed the letterforms so as to have no closed areas and even played with other shapes in order for them to appear more open also.

Neutral

Neutral (2005)

Neutral was designed in 2005 to serve as a base template for a series of typefaces that experimented with its forms. The resulting typefaces Flip, Shift, Switch and Woven aimed to explore the effects that deviations to the expected shape of letterforms had on legibility.

Intercom

Intercom (2006)

Intercom looked to convey the simple idea of the concealment and then discovery of a letterform within an otherwise familiar pattern. These letterforms were designed to be close representations of the recognized compositions but created within a complex and disparate grid structure of seemingly ‘on/off’ states.

The result of this experiment shows that although ‘busy’ with many interfering elements, there is still a quite straightforward path between the perception, connection and understanding of the desired letter as the ‘extra’ elements have a propensity to recede into the background.

The grid was inspired by an intercom that I saw on my daily commute.

Galore

Galore (2005)

Galore is a typeface was designed for a disused Christmas card. For these letterforms I looked to create elegant dot compositions that reflected festive things such as Christmas lights. Galore can be seen as an early exploration of smaller parts making up the whole, however not yet to the point of abstraction.

Flip

Flip (2006)

Designed on a simple grid and part of a family of gradual departures from the existing letterforms, Flip was the culmination of these experiments. The outcome was achieved by applying a horizontal break through a rough centre point, a couple of units below the x-height, and proceeding to invert all the detail and content above and below that point.

Crossbar

Crossbar (2005)

This typeface was based on the simple idea of wanting to add an obstruction or intrusive element to each of the letterforms. In this case, ‘What if each letter had a crossbar?’ While little impact is made on some letters, other shapes take on new and interesting appearances.

 

Broken

Broken (2005)

Broken is a typeface that explores the question, ‘What is all the ascenders and decenders of each letterform were bent at a 90 degree angle once they cleared the x-height?’ The result becomes letterforms that seem to invade (or embrace) each other’s space and interact.

Blank

Blank (2006)

The letterforms of the Blank show how the context of a word (or organized group of letters) aids in the understanding, interpretation and perception of letterforms.

Designed in 2006, Blank was the first typeface with which I attempted to challenge how we might understand letterforms specifically devoid of recognisable characteristics. Inspiration to create this typeface came after hearing the theory that we don’t read by looking at each letter, but by recognising the shapes of the words that the letters create.