Sig is my revival and extension of Rudolf Koch’s 1931 typeface, Wallau Halbfette, from my first semester of TypeMedia. Wallau is a quirky rotunda typeface that presents itself as a hybrid between blackletter and roman type; it even came with both blackletter and roman capitals.
Though Wallau’s lower case and certainly its set of blackletter capitals err on the side of blackletter, its roman capitals are more reminiscent of sans serif roman typefaces like Warren Chappell’s Lydian and Hans Kühne’s Stahl. I used these roman capitals as inspiration for some significant departures from Koch’s design, such as removing entry and exit strokes and romanizing some of the antiquated blackletter forms. Though Wallau was somewhere between roman and blackletter when it was designed, for the modern era it is squarely on the blackletter side. Reinterpreting it with more roman elements seemed like an appropriate way to add something useful and original to Koch’s design while honoring his intentions.
I designed the Latin for Paul van der Laan’s class, the Cyrillic for Ilya Ruderman’s class, and the Greek for Peter Biľak’s class. Here is a PDF copy of my process book in case you would like to have a more detailed look at my design process for Sig.
Contrakt is a warm, but sturdy and authoritative, text typeface family inspired by the limited palette of typefaces that were available to me in my former life, when I worked in the legal department at a NYC record label. Contrakt was my final project for the 2016–17 Type@Cooper Extended Program.
Melantius is my revival of the typeface Bulmer, as it appeared in Cheshire House’s 1932 edition of Beaumont & Fletcher’s The Maide’s Tragedy. Melantius was my first semester project for the Type@Cooper Extended Program.
Coding: Renaissance H
This is a parametric letter I coded in Python using DrawBot during Frank Grießhammer’s class at TypeMedia. The serif lengths are determined by the circles’ diameters, which are determined by the stem width. It was inspired by a beautifully printed little Jan Tschichold book from 1971, Das Alphabet des Damianus Moyllus: Parma um 1483.
The Dude Abides
20" x 15". This is a cut-paper piece based on my calligraphy. The entire foreground is one piece of paper.
Fear & Loathing in Las Vegas
15” x 22”. Steel folded pen and walnut ink on Khadi Rag paper. The style was inspired by a handful of 20th-century typefaces like Legende, Stentor, Reiner Script, Mistral, and Derby, and, in particular, by Carl Rohrs’ calligraphic brush interpretation of Legende.
12” × 12”. Mitchell 2.5 nib and Higgins Sepia ink on Ingres d’Arches MBM paper.
The first image is a calligraphic interpretation of Oldrich Menhart's typeface, Ceska Unciala, and the second is based on his book jacket lettering. Both are 9" x 6" and were written with a Mitchell Witch Pen and walnut ink on Hahnemühle Ingres paper.
Excerpt from iTunes Terms of Service
30" x 44". Soennecken 2.5 nib with walnut ink on Rives BFK paper. The x-height is approximately 3/8".