Doublewide is the featured font right now on Typophile. It's funny how wide it really is. Only about one or two words make it on every line on the home page. See Doublewide in action.

This is the quick Garamond that I drew as the base for Zebramond. I'm not a big fan of redrawing dead peoples' work, but I've found that redrawing types by eye without tracing can yield some interesting results. If nothing else, it's a good way to understand a particular typeface.

I'm weighing whether to finish this font (see the last post for more about how it came to be). It's interesting in a freak show kind of way, and I'm interested to hear what people think of it. In the mean time, here is a public beta. It's rough, with only rudimentary spacing and kerning. Only the upper and lower case characters are supported here. As usual you can use it, but don't publish the font files or try to sell it.

This is an alphabet I did for the "Typographic Lovechild" battle at Typophile. The challenge was to mix Garamond and Zebrawood.

I've settled on Aperture as a working title for the new geometric. I'll see if it fits. In the mean time, I'm making the black and medium weights available as a beta. Let me know what you think. As always, please don't try to sell or redistribute it.

This setting shows an alternate 'a'.

I've been doing a lot of knobby wobbly types lately. Here is a push in the other direction with a sketch of a more rational geometric. I'm not convinced that it needs the curvy 'l'.

I decided it would be easier and probably look better to create a bold from the slab outlines than to add the slabs onto a Doublewide bold. The guy sitting next to me on the train this morning was very interested in the process. It felt like performance art.