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A logo exercise I put together recently.
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My new typeface, Volterra, is finally finished. It is currently for sale at MyFonts.com for a reasonable $25.
Volterra was inspired by an experiment I did in 2008 with Bodoni (for the Holly Hunt 25th Anniversary Campaign) where I added a white stroke around the edge of the typeface that started eating away the thin strokes. Eventually I eliminated the horizontal stroke altogether, then took the remaining shapes and redrew them into more more balanced forms, hopefully breathing new energy into a 200-year-old classic.
I named it Volterra after the artist Daniele da Volterra—who was famously hired to paint loincloths over Michelangelo’s “Last Judgement” when nudity in religious art was condemned—partly because I thought the name suited the look of the typeface, and partly as a joke about corrupting the work of a typographic master—Giambattista Bodoni. I’m proud of the final product, but I obviously acknowledge it isn’t exactly in the league with a typeface like Bodoni. It is strictly a display face, and looks better and better the bigger you make it.
For my degree project at RISD, I sought a project that would give me the opportunity to mix my abilities as a designer with my roots as an illustrator. What I eventually settled on was the idea to choose a short story and expand it into it’s own book that I would illustrate and design with that single story in mind. Graphic novels had been bringing long-form adult stories to a primarily visual medium for some time, but I wanted to bring visual interest into the plain text environment. I chose the short story “Notes To My Biographer” by Adam Haslett, from his book You Are Not A Stranger Here, about a manic depressive father seeking resolution with his estranged son.
My main goal was to do more than to just illustrate the action of the story. I wanted the illustrations to be indicative of the deeper meaning in the story. Beyond that, I wanted to design the text of the book in a way that supported the story so that the book wasn’t just left-page-picture-right-page-standard-text. Looking back, I could have done much more with the text layouts, but overall I’m happy with the final product.
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On the eve of The Dark Knight Rises, I thought I’d go ahead a remind everyone that I played a very minor, yet very important, role in The Dark Knight (seen above). Am I the reason it made over a billion dollars? It’s hard to know for sure, but it certainly didn’t hurt.
The eventual result of my anamorphic typography experiment. I painted this in the entryway of the HOLLY HUNT showroom in Miami just before Art Basel. I finished a bit early so I was able to add the HH logo in the opposite corner.
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The merchandise site I designed for Girl & The Goat is officially live and ready to handle all of your goat-themed merchandise needs. Check out the actual site: shop.girlandthegoat.com.
Samples of my typeface Toews I released in 2010. It evolved from a typeface I released at the same time named Versteeg, which can be seen here. Available for purchase through MyFonts.
This is a book I designed at the end of 2009 (and am just now getting around to posting). It was an attempt to create a takeaway catalog for Holly Hunt that had the feeling of an art book.
Samples of Huet and Niemi, two typefaces evolved from a typeface I released at the same time named Versteeg, which can be seen here. Available for purchase through MyFonts.
Samples from my typeface Versteeg, an experiment in which I tried to reduce each letter to the simplest block structure possible before it becomes illegible. I originally developed this lettering for this poster I designed, but eventually developed it into a proper typeface. Available for purchase through MyFonts.
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