Spreads designed for the first reference book on the odds of everyday life.
Agnes is a contemporary neo-humanist serif typeface in 3 weights. Designed with a horizontal emphasis in mind, Agnes is intended to work primarily at medium text sizes. The family combines a contemporary, modular construction with an underlying calligraphic influence, resulting in a quiet vitality that makes Agnes suitable for a wide range of editorial uses.
Dying in a glorious way.
What is a $1.00 investment made in 2000 in S&P500, Euro, Oil, Gold and Apple stocks worth in 2012?
I came across this typeface in a specimen book by Genzsch & Heyse printers. Elzevir types originated in Netherlands around 17th century, and were hailed for their proportional elegance. Revived by French founders in the 1850s, the Elzevirean letter forms enjoyed a new popularity through early 20th century, and were interpreted by many across Europe. This specimen is one such instance.
The challenge of working on a revival typeface is to most authentically approximate letterforms through the imprint they left on paper. It is in that way an exercise in translation. Germaine is my attempt at translating the French Elzevir typeface, as redrawn by founder Emil Julius Genzsch in 1902.
Roman letterform study with broad nibbed pen.
Experiments with letterforms. The exercise breaks down glyphs of Zuzana Licko’s Mrs Eaves into their components and reimagines them in new compositions.
Lettering created at Ken Barber’s Cooper Type workshops.
An experiment with bitmap type, Atrium is built on a 10 x 10 pixel grid. The aim of the exercise was to explore how the illusion of a curve could be created within the restriction of the grid.