Curtis is a typeface developed while creating my thesis on developing a typeface. Curtis was inspired by modern wedge serifs as well as embracing calligraphic undertones. With a tall x-height, Curtis is able to be legible at small point sizes making it an ideal choice for body copy.
Consisting of upper and lowercase characters, punctuation, and standard ligatures, Curtis’ process involved pencil sketches, vectorization in Adobe Illustrator, and finally integration into FontLab.
In addition to the characters, Curtis has also been kerned for optimal legibility. With over three hundred kerning pairs, Curtis is tuned and ready to work.
Need help starting out your own font?
Additional Resources for typeface design
EM Square Illustrator file.
OpenType Feature code help.
Type Ace is a study on discovering effective ways on mastering typeface recognition. Type Ace is a flash card memory game with the letters HAMBURGERFONT in all caps and both the regular and italic typefaces represented, a type enthusiast can use these cards to better identify typefaces. At the moment, Type Ace is only a 20 card set; however, there are plans to expand the basic set and add new sets based on the VOX type categorization system.
The word ampersand is a conflation of the phrase “and per se and”, meaning “and [the symbol which] by itself [is] and”. The ampersand can be traced back to the 1st century a.d. and the Old Roman cursive, in which the letters e and t occasionally were written together to form a ligature. In the later and more flowing New Roman Cursive, ligatures of all kinds were extremely common. However, during the following development of the Latin script that led up to the Carolingian minuscule (7th century), while the use of ligatures in general diminished, the et-ligature continued to be used and gradually became more stylized and less revealing of its origin.
The Ampersand. The Pluto of the Alphabet. Once recognized as the 27th letter of the English Alphabet, it’s downgrade happened at the turn of the 20th century. Now, in the 21st century, the ampersand can reinvent itself. Taking it’s likeness from the London Olympic Rings, The Olympian fits right in with modern san serif font faces and especially well with the geometric faces. Phone Home travels back to the ligatures origin profoundly displaying the et. The Spotlight takes it’s name from it’s form when flipped vertically. Edgy and stylized, The Spotlight form makes it seem almost 3d.
Download the font file
I was selected to be apart of AIGA’s 100-year celebration exhibit called Chaircuterie. Here is the description from AIGA’s website:
Here’s the backstory: AIGA turns 100 this year. With a nod to the founders who provided their own chairs for the inaugural meeting, we’re marking this milestone in Colorado with an original selection of chair designs. One hundred stellar creatives are being asked to craft 25 full-size chairs, 50 miniature chairs and 25 two-dimensional chair representations.
This event supports AIGA Colorado mentorship programming and the Denver Art Museum’s Department of Architecture, Design and Graphics, steward of the AIGA Design Archives. This program is supported by Denver Arts & Venues Cultural Partner Program and the McNichols Civic Center Building.
I started designing this piece with geometric asymmetry in mind. I wanted to create a chair that was abstract yet seemingly designed. I achieved this using mostly straight-edged triangles and, sparingly, curved-edge triangles along critical the edges and eye line of the chair.
For the color palette, I chose is a comprised of vintage tones that nod back to the mid-century design in which the chair design was modeled after. Using a muted brick red-orange, olive green, brown, and light and darker beige as the base and shadow, the colors allowed a simplistic floor as well as color accents throughout the piece.
The artwork was auctioned off at the event generating much-needed scholarship funds for AIGA students.
AORN was facing a problem. Engagement was down in their flagship weekly newsletter and ad revenue was declining. Internal issues relating to content, interactivity, and teaser copy length were also causing headaches. A team was put together to compile the many shortfalls of the current format. The redesign team met with key contributors for PI (Periop Insider) and asked them to share their frustration with the current set up. The following slides follow the process and results of the Periop Insider redesign.