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5 Comments
The contrast between these chunky, truncated square prism forms and the hairline defining them is a pristine paradox. There is the delightful impression of both weight and weightlessness.
In conception, the balance of negative and positive space is sublime. The isometric-like 3d projection orients perspective to perfectly align certain points of intersection and unexpected continuous lines which stylize and simplify many glyphs. Clearly you constructed these letters, numbers, and symbols with this in mind (e.g. the lower configuration of the A R and X, though the # is perhaps the most brilliant example). The hairline approach further emphasizes the beauty of the concept you achieved by, again, treating both negative and positive space as “white”.
The construction is a masterful extension of the concept. This family – each member so similar and yet so distinct – requires a considerable amount of dedication and diligence to complete. A week at speed – wow, I believe it! And that’s just the fontstructing slice of the journey. The whole undertaking must have taken quite some sketching and schematizing to figure out how to construct such consummate characters! 8^)
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