Completed in 2010 for House Industries, Mierop Inline is a revival of a photolettering
typeface. Based on the DNA from a film scan of Craig Mierop's original
photolettering design, I extended the small uppercase character set to
include lowercase, punctuation and accents. The project was overseen by Ben Kiel,
who suggested creating a set of open-countered uppercase alternates as a
way of preserving some of the more idiosyncratic features of the
original design. Although inline typefaces are time-consuming and demand a flexible approach to drawing, it is satisfying when you can avoid optical problems with a clever use of the inline features.
In the first half of 2010, I worked with Commercial Type to develop a custom type family for the University of Phoenix. The family includes serif and sanserif styles: I drew the romans for the sanserif; Berton Hasebe drew the sanserif italics. Abi Huynh and Ross Milne drew the serif companion family. Christian Schwartz oversaw the whole project. Phoenix Sans was initially conceived as a sanserif version of my Tasman typeface (internal link needed) but over the course of the project it developed an independent personality. The sanserif family includes five weights and is licensed exclusively to the University of Phoenix until 2020.
A custom type family for the University of Phoenix / Commercial Type.
MADA Sans is a custom type family for MADA (Monash Art Design & Architecture). Conceived by Professor John Warwicker and based on the overlapping circles of his accompanying logo mark, MADA Sans is an all-caps display family for exclusive use by the faculty. Provided with John's sketches for a Medium weight, my brief was to expand them into a family and iron out some of the awkwardness that comes with strict adherence to geometry, making optical adjustments and balancing forms without losing too much of the typeface's modular charm. The result is a nine-weight family which appears strictly geometric, yet avoids the clotted counters and intersections, the awkward curve transitions and the top-heavy forms which often come with this territory.
A custom type family for Monash Art Design & Architecture
The MUMA type family was designed by David Pidgeon as a central element of a his studio's new identity for the Monash University Museum of Art. Inspired by the gallery's central corridor and designed within the constraints of the university's brand guidelines, the MUMA type family has the skeleton of Helvetica, the university's corporate typeface. My role in the project was to digitise the family, cleaning up curves, extending the character set and creating four weights which can be overlaid to create different effects. The level of detail in the typeface -- the tiny rounded stroke terminals and the hairline gaps between strokes -- posed a number of technical challenges and called for an unsually fine drawing grid of 2000 units per em.
A four-weight type family for Monash University Museum or Art. Designed by David Pidgeon as a custom version of Helvetica, the university's corporate font.
The Tasman family was conceived in 2009 as my final project in the Type and Media masters course at The Royal Academy of Art in The Hague. I extended the family in 2011 and it is scheduled for release in 2014 by the Belgian OurType foundry. Tasman is a sturdy, warm general purpose type family. Its characters are unambiguous: strong serifs, punctuation and diacritics, large small caps and hybrid figures, and strong shifts in weight between styles. Tasman was first conceived as a typeface for newspapers: the personality is as warm and playful as possible without losing the tone required to deliver all kinds of news.
Short interview regarding Tasman in Desktop Magazine, June 2011
A general purpose type family designed as my final project in the Type and Media masters at KABK. Suitable for news and magazines.