An updated version of the typeface. I’ll be adding the detail back in tomorrow afternoon. I miss some of the flourishes from the first version….but I know this one flows better. Not totally happy with the ‘x’ and ‘v’ again.

“pictorial polyphony”

[term: Paul Klee’s, definition: mostly mine]
>>A style of simultaneously combining a number of parts, each forming an individual melody yet at the same time harmonizing – to create such a dense and dimensional imagery that such disparate forms create a unified whole. Every element is essential. Without the counterpoint the main point falls flat. <<

distilling my statement

What do I hope to communicate? That beauty can be found in the foreign and the unknown, that a different perspective of life and art can bring a person out of a narrow view and broaden his understanding of the world and others. Not only will he comprehend, but he will be impelled to attach to himself some new thought and idea, and in doing so positively affect those around him. This is what incites change.

coalescence specimen

Some of the connections between letters need work, and a few angles need adjusting. It’s definitely easier to see the flaws when words are being formed. I also have an alternate ‘w’, that isn’t as quirky…


a fusion of cultures

New direction for my thesis: a typeface that blends elements from my travels overseas with more western conceits. I looked through my photos and selected ones that had details that pleased me, whether they were details of a henna design, the flowing curves of a Sudanese tobe, or the inlaid detail of the Taj Mahal.

My thoughts for the type were that it should have the same structure at all sizes, but the flourishes and ornamentation would simplify as it went smaller and become more complex at larger sizes. I like the connectivity of Arabic script, so I think my typeface will be more cursive to reflect that.

Not sure how I feel about the large scale yet…