Apelo

Apelo (2014)

Apelo is a typeface named after the influential French type designer, Philippe Apeloig. Early in 2014, while he was in Melbourne for the ‘Look Upstairs’ conference, Philippe gave me gift that included gridded notepads and Apelo is the first resulting typeface from this gift.

The forms are based on a simple shift in shape, similar to Fathom, by moving the right half of the letterform to the left. The forms aim to challenge perception by transforming something familiar into something unfamiliar through the reorganization of elements.

Thank you very much for the gift Philippe.

Ally

Ally (2014)

Ally continues the exploration conducted with typefaces such as Sandy and Fathom. Each letterform takes the familiar elements and reorganizes them into unfamiliar compositions, as per Fathom, and then the new shapes have been manipulated in order to examine the possible relationship of the letterforms with analogue output and creation, as per Sandy, but with more detail.

The name comes from the reallocation of the components.

Kit

Kit (2014)

Kit is a thank you via typeface to Duncan Legge who built this website for me. Duncan has been a very good friend of mine for many years and is a top notch digital designer who took time out of his busy schedule to help me out.

The forms of Kit take influence from Duncan’s love of cats, with each letterform in some way or another resembling their shape.

Thank you Duncan.

What I Know Now Exhibition

What I Know Now Exhibition

These three posters were designed for the exhibition ‘What I Know Now’ held at the Academy of Design in Port Melbourne, Australia in 2014.

Themed around the concept of expanding knowledge, I set each poster in a different typeface that aimed to progressively push the observer’s perception. Typeset on each poster is a quote that explores perception and experimentation from Herbert Spencer, Donald Schön and Gerard Unger.

Included alongside was the following statement:

“When thinking about the theme ‘What I know Now’, my mind unsurprisingly gravitates towards my approach to the creation of letterforms. When I started making letters I was bound to the expectations of each letter shape and how they should be created. However, slowly but surely through many experiments, conducted over a several years, where I removed, added and rearranging details and components, before finally I speculated with completely new shapes and elements. I found that it was not just my designs that were transforming; my perception of what a letterform is, or could be, was as well.

What I know now is that through this process I have removed many of the preconceived expectations that I used to have when thinking about what a letter should look like. In turn, this has allowed me the freedom to create from a place of openness and a willingness to explore which has led to the creation of many letterforms and typefaces that I would have otherwise shied away from in order to remain in safer, more expected, territory. When I design a typeface, I know that the Latin letterforms will always exist, however I also know there is no harm in playing in the realm of ‘What If?’, just to see what happens when I do.”

Typograph Journal Volume 2

Typograph.Journal Volume 2

This artwork was created as a visual response for Typograph.Journal Volume 2 and accompanies a short interview.

Tasked with listening to the song ‘Glare’ by Sheep Dog Wolf and creating a piece of typographic design, the outcome references time, light, shadow, emotion and hidden meaning.

When asked what it was about the song that resonated with me, my response was as follows.

“When listening to the song (which I did a lot), I always made a deliberate attempt to do so while outside. This was usually while walking my dog and it meant that I was both listening and not listening to the song at the same time, due to still needing to pay attention to my surroundings. I found that this allowed me to absorb different parts of the lyrics, compositions etc. each time and without necessarily forcing any creative aspects or expectations to “react” visually in the early stages.

What resonated with me was the variance within the song, as I would find that on any given play through I would find myself focussing on different parts independent of each other. This meant that each listen led to a different reaction or interpretation. After a while I gravitated to the words “Am I the only one who sees?” and I went from there.”

Visit Typograph.Journal for more information.