Ata Syed (thalamic/minimum)

Born in 1967 and raised in Karachi, Pakistan; Ata Syed moved to the United States at the age of 19. He attended Drexel University for a five-​year degree in Archi­tec­tural Engineering. Along the way discovered he didn’t want to sit and perform engineering calcu­la­tions for the rest of his life and quit school in the fourth year. What made Ata change his mind was the guidance of his mentor, Jim Shaffer, who saw that his aptitude lay in design. Shaffer allowed Ata the luxury to develop this in the form of numerous projects, ranging from purely graphic to purely technical (with a design bent on them) and every­where in between. As Ata was the only design person in an engineering department, there was never a shortage of design-​related projects. The challenge was to do the work required for each project while trying to push his own abilities further. Each project taught him some valuable lesson.

Before he realised it 17 years had passed, and in 2003 Ata Syed returned to Karachi. Few people get the chance to start life anew. This move presented a unique oppor­tunity to finally get that long-​forgotten degree. The difference this time was that Ata now knew what he wanted to do – he got a Bachelors degree in the Arts from Karachi University and a Masters degree in Adver­tising from Iqra University. A week after submitting his thesis in typog­raphy, he was hired as a teacher in the same university. He now mainly teaches graphic design basics and design software courses. Speaking about his profession he says that it is highly frustrating on a daily basis, yet overall it is very rewarding and can’t imagine doing anything else now.

SOSO by thalamic

Your aptitude for design revealed itself during your degree in Archi­tec­tural Engineering at Drexel University, but at what point did you get bitten by the typog­raphy bug?

I discovered fonts much earlier, when I got my first computer in 1983 – the Commodore 64. Before that, I didn’t even know that there was such a thing as more than one typeface or even something like graphic design. On that Commodore 64 I had a lot of games, yet I hardly ever played them because game play was not what I was inter­ested in. Only with hindsight I realise now that the fonts and graphics used in the different games were what impressed me so much and got me inter­ested in type. Back then, it was just something that occupied my time. Years later, I came across a Letraset catalogue at work. I was fasci­nated with it and used to sit and stare at the typefaces in it for hours at a stretch. I guess somewhere between the Commodore 64 and Letraset, I acquired what type was. The funny thing is I never thought about any of this until I answered this question. I really wonder what other unknown influ­ences I might uncover.

Dent by thalamic

And from there, what prompted you to make the next step to actually designing typefaces?

Since my degree is in adver­tising, the crux of the thesis lay in a complete marketing campaign for a product or service of our choice. Type design and typog­raphy had been a long-​standing interest of mine, and thus I chose to do an adver­tising campaign for a type foundry. Just like the management of VW likes to arrive at auto manufac­turers’ meetings in their own top-​end cars, similarly, I thought no self-​respecting graphic designer would use someone else’s typefaces for their thesis on typog­raphy, even though creating a font was not a requirement for it. The ad campaign of my thesis revolved around the promotion of a new typeface, so I found myself in the position that I needed to generate this font. It was the first time that I was forced to examine type and fonts from a technical perspective. Since I now live in Pakistan where Urdu is the main language, I decided to design an Urdu font.

The odd thing about Urdu is that it is almost always written in cursive, and having stylised fonts is neither a necessity nor an indul­gence of the local designers. The one thing that always struck me is the disparity in the design (the look-and-feel) between Urdu and English typefaces. While in the Latin alphabet thousands of different type designs are available, each with its own distinct style and atmos­phere, Urdu fonts are almost always devoid of any person­ality. Furthermore, as almost all commercial ad campaigns in Pakistan run in both English and Urdu, there is a clear discrepancy between the English and Urdu language versions. My idea was to try and design a typeface that comprised the character sets from both languages in a very similar, if not identical, design treatment. This would allow for a similar look and feel in both scripts, and the impact of the campaign would remain consistent in either language. Not only did the typeface prove to be a challenge to design, I also had to learn all the technical aspects involved in the creation of digital fonts in no time. This experience forever etched in my mind what an incredibly involved process type design is. As a result I now appre­ciate each typeface – even the really terrible ones – as an achievement by someone, at some stage of being a typophile.

Bilingual is the typeface with Latin and Urdu character set that Ata Syed created for the thesis for his degree in adver­tising.
Owing to the extreme shortage of time Bilingual – the typeface I designed for my thesis – ended up being modular in nature. I think it may have something to do with my engineering background that I always think in grids. After exper­i­menting with few of the characters on a quadrille pad, it became evident to me that there would be a lot of repeating elements in the characters and that they could be designed in smaller modules, or bricks, as it were. Not only did this save me time, but in the process it also gave the font the consis­tency between the two scripts that I was looking for. One could consider this first attempt to be a manual FontStruct, so to say. It is no wonder that I’ve loved FontStruct ever since I StumbledUpon! it in early April, 2008. Since then almost all of my free time is spent online building fonts with bricks.

ORFIX by thalamic was cloned from FIROX, which in turn was inspired by the RÖFIX logo.

You design FontStructs under two different aliases – thalamic and minimum. Can you explain why?

Oh, you found us out! (laughs) Well, I am a bit of an obsessive-​compulsive person. There was a point when almost every other comment posted on the site was mine, or I should say, thalamic’s. It felt like I was monop­o­lising the site and considered stepping back a little – a sure case of easier said than done. That’s when I created another account to keep thalamic to a ‘minimum’. Without realising it myself, minimum evolved into my exper­i­mental FontStruc­tions account. Though I’ve tried to keep the two ‘person­al­ities’ distinct, the core type ideologies I embody are clearly visible in both. Observant and much respected fellow FontStructor DJNippa was quick to pick up on it. Frankly, I was flattered he paid such attention to my work and made me resolve to live up to such scrutiny. The beauty of FontStruct and its incredibly generous user community is that it makes one grow without even realising it. That is excep­tional for a website. And really, calling FontStruct a mere website is like calling the UN a mere organisation.

s-ookii by thalamic is the shaded version of ookii. Though it appears to be a simple clone of ookii, getting the shadows to look natural and line up properly in each character was a geometric challenge. Thalamic ended up redrawing the complete character set three times over, increasing the size in incre­mental steps.

How much do you flesh out your character sets?

It depends on the font. Some of my fonts only contain the lowercase set, some just the uppercase letters, and on rare occasions the extended latin characters as well. Most of my fonts are limited to the upper- and lowercase, numerals and basic punctu­ation. For me personally FontStructing in its current state is for exploring letter forms and not so much for devel­oping fonts for every typographic need. FontStruct is improving every day and I certainly don’t want to imply that it is not a proper font creation tool, which it truly is, especially for pixel fonts. FontStruct provides a quick and practical tool for exper­i­men­tation that would take a lot longer using Bézier curves with other font creation software.

Level by minimum is an exper­iment in eclec­ticism. Nothing goes with anything. Works best in mixed-​case settings. Or not.

The other languages in Pakistan are written in Arabic script. Have you designed Arabic characters as well in your FontStructions?

I would like to but I haven’t… yet. The reason is that languages using the Arabic script are almost always written in cursive. The Arabic characters currently supported in FontStruct are limited to the equiv­alent the uppercase characters in the Latin character set. Full cursive writing in Arabic and deriv­ative scripts, like Urdu, requires three additional forms – initial, medial, and terminal. I promised Rob Meek to provide him with the list of all characters required to write cursive Arabic a long time ago, and still I intend to get that done for him one of these days… if only I can tear myself away from FontStruct for a good block of time.

Fontsration (Refined) by thalamic started out as a “why not”. When it showed potential, thalamic added more glyphs to round out the character set.

The Arabic script is rooted in callig­raphy far more than Latin or Greek or Cyrillic. Does trans­lating swooping curves and small diacritic marks to the FontStruct grid present additional difficulties?

Yes, the Arabic script is certainly rooted in callig­raphy; deeply. Although modern Arabic script gradually becomes less calli­graphic. It is evolving with the times to better conform itself to the limita­tions of displaying type on the computer screen and the rules governing the creation process (say, OpenType standards). However, languages other than Arabic that started out with borrowed Arabic script, like Urdu, have been less willing to adapt to current standards, and still clearly betray their calli­graphic roots. Overcoming this requires font designers to use thousands of ligatures. Either Urdu script must evolve or OpenType standards must expand. The status quo does not suit.

Although I have not yet attempted to create an Arabic FontStruction, I can say this with some assurance that a curve is a curve. If a curve can be approx­i­mated for a Latin based script font, the same must hold true for any other script. Trans­lating them to FontStruct should not pose any signif­icant challenge beyond what countless users face – and overcome – every day. As is clearly evident by thousands of beautiful fonts already available on FontStruct, the limitation is not the medium but rather the imagi­nation of the user. Allow me to point you to Funk_​King’s 400+ currently shared FontStruc­tions as an example of diverse ideas converted into typefaces, or Intaglio’s 150+ currently shared FontStruc­tions as an example of exploring what a text typeface can be. As far as I can see – if you can imagine it, you can do it in FontStruct.

But this interview has taken a serious bent towards Arabic. There’s nothing wrong with that, but it is not what thalamic is about. The Arabic is just a minor aspect of my background and not visible at all in my FontStructions.

Permu­tation IV by thalamic

Now that you bring it up, what is thalamic about? Is there an overar­ching theme or research in your work? Are there specific things you are exper­i­menting with?

I had a feeling that was going to be the next question. (laughs)

It’s inter­esting that it is always easier to define what something isn’t then what something is. To say that thalamic is not an astronomer is a no-​brainer. What thalamic is, well, that’s a stumbling block. As anyone else, thalamic is an amalgam of all of my past experi­ences. Why, you might ask, do I want to involve (indulge, even) in type design as opposed to any of the other past experi­ences? For one thing, we all gravitate towards that which is pleasurable or stimu­lating somehow. For me, typefaces and type design are definitely a case of “and”, as in: pleasurable and stimu­lating. When you hit upon that winning combi­nation, it is hard to let go. After all, no one asks why they like ice cream, do they?

Helix by thalamic
Many years ago, a colleague of mine told me how he motivated himself to get up at 5am to go for a jog everyday. While getting up so early was as difficult for him as the next person, he did it because he knew how great he would feel having done it. And this is the key – you only work for how you will feel after having done it, any of it. Similarly, for me completing a FontStruction is always the goal. Having the whole set make sense in its own context is the requirement to reach that goal. Every­thing else on top of that is the icing. The trick is to see the icing as the bonus, and not to expect it to be an indis­pensable aspect in the process of completing a font.

In doing shapes, I’ve come to admire/dread the double reverse curves of the “S” or “s” for usually it is them that causes a font to reach an undue pause. And if you reverse the process, when you start with “S” or “s” other glyphs suffer. “A” and “V” are easier to design but tend to be on the wide side. This sometimes does not work with the style of the FontStruction and you end up making compro­mises. For every one shared font, there are three that refuse to be moulded. Sometimes you are the master, sometime FontStruct resists. But oh, when you and FontStruct are in sync, then it is sheer magic – the bricks just seem to fall into place. FontStruct really is the Tetris of this generation.

Mingle Co by minimum

Do you explore specific concepts in some of your FontStruc­tions, or are they primarily formal exper­i­ments in shapes and moods?

It’s been said many times that there are no original ideas left; everyone is influ­enced by something, be it natural or man-​made. Since my interests gravitate towards graphic design I come across thousands of images every day, and inevitably they have an impact on me. If I know what my inspi­ration source is for a specific FontStruction, I reveal it at the time of sharing. For example Grayscale was inspired by a single character I discovered on a submission for a poster design contest on Crowd­Spring. Most of the times though, shared FontStruc­tions start off as mere exper­i­men­ta­tions, by placing one brick next to another. If in doing so I get one letter done in some particular style, I can usually visualise the rest of the glyphs in my head. Then it simply becomes a matter of placing the rest of bricks where they need to be, like in hello.

hello by thalamic is a bold upright connected script.
Yet it also happens that I start with a vague concept in my head, for instance building a shadowed font like The I, creating a text face like fs_​tributary, conducting exper­i­ments double line design like Helix, or whatever crazy idea I may come up with, like abc etc. – all with varying degrees of success. It is rare for me to start off with a really distinct idea. That usually happens when I am bored in class and start doodling in my notebook. The lowercase of Penmanship came about that way.

fs_​tributary by thalamic was an exercise in trying to extract a serif typeface as standard as possible out of the FontStructor.
The inter­esting part is that – no matter what the starting point is – you always have to adjust your ideas to what the modularity of FontStruct is allowing you to do. In its own game, FontStruct usually wins. The challenge/fun is getting the match to a draw, learning from it, sharing the outcome, and then move on to the next match. Inter­est­ingly though, the ball seems to always end up in my court. What keeps me going is the question: “What do I do with it this time?”

Penmanship by thalamic

VERY BECOMING by thalamic

Subliminal by thalamic

Ceci n’est pas une vague/Ceci n’est pas une ligne by minimum

This is the fourth in our series of mini-​interviews with FontStruc­tors. In this instalment we talk to Goatmeal, a FontStruct user with a singular hobby – FontStructing classic arcade game fonts. Well, it’s more than a hobby; judging from his comment on the Bentley Bear 2 page it’s a calling:

After watching me push pixels around the FontStruct field last night to make another arcade game font, my wife asked, “Why are you doing this?”

I could only reply, “Because it has to be done!” :^)

I really appre­ciate the oppor­tunity that FontStruct provides to preserve these classic typefaces from my youth spent in the video arcades!

In reply to my invitation for the interview Goatmeal describes himself as “more of a typeface enthu­siast / fonta­holic; while I like to think I’m graphically-​inclined, I have no formal training – I’m just nuts about typefaces.” Well, as it turns out this is exactly what we are looking for for the mini-​interviews. While we certainly don’t mind having the odd profes­sional graphic artist or hotshot type designer, the common thread in this series is the dedication and the passion these FontStructors display in their work.

Goatmeal

Goatmeal is the Director of R&D for a small vinyl manufac­turing company in the South­eastern United States. He graduated from the University of Michigan-​Flint, majoring in chemistry with a mathe­matics minor. While he can draw quite well (wanting to be a cartoonist during childhood), he has no formal training in any of the graphic arts; so, he comes at this from a fan’s perspective: a typeface enthu­siast, a fonta­holic, enjoying typefaces for their purely aesthetic qualities.

What is your relationship to type and typography?

The first two font sets I bought were the Bitstream Font Packs “Star Trek” (1992) and “Star Trek: Next Gener­ation” (1993) – I still have the original diskettes (ed. Although the Font Packs were discon­tinued most of those fonts are still available). Aside from being a Star Trek fan, it was the first time I noticed typeface styles as art, as opposed to mere conveyances of ideas or thoughts.

Bentley Bear, font from Crystal Castles, © 1983 Atari
Having the same revelation as others in the type design industry, I began to wonder why I liked one type style, but not another? What was it about a certain typeface that did or did not appeal to me? Why did it matter? Should it even matter? A few simple typeface styles could be used for the vast majority of appli­ca­tions across the planet (differ­ences in language-​specific glyphs, notwith­standing), but instead, there are hundreds of thousands of different styles available. Most people notice, use them (i.e., read) and subse­quently ignore or forget them every day.

What most people aren’t realising is that typeface choice is as important to the meaning it conveys as the idea or thought being conveyed – associ­a­tions, if you will. When the marriage of form and meaning is expected or antic­i­pated, it works. Otherwise, the associ­a­tions can hinder the effec­tiveness of the message, even though it can be under­stood: grunge fonts appear out-of-place on wedding invita­tions, whereas calli­graphic styles are equally incon­gruous on rave/techno flyers; wide, angular sci-​fi display fonts do not imply “fantasy, medieval” themes any more than Celtic and Old English fonts imply “space, robots, futur­istic” themes; and don’t even try using Comic Sans MS on your resumé!

The Tron font series from Tron, © 1982 Bally Midway Mfg Co.

How did you start out on FontStruct?

Back in March 2009, I was looking for a dot matrix font to replicate an old high school paper I wrote in the mid-80s (a report for computers class on the state of computer animation, focusing heavily on the movie Tron). The perfo­rated paper was starting to deteri­orate, and the ink was fading. Since it was origi­nally written on a TRS-80 Color Computer, I couldn’t simply port it over to a modern day IBM-​clone (yes, I’m old enough to still refer to PCs as IBM-​clones).

Wanting to maintain the feel that it could have been ripped from an old tractor-​feed printer from 25 years ago, I searched for a font similar to the dot matrix print on the page. Unfor­tu­nately, most dot-​matrix fonts don’t truly capture the pin-​strike complexity that printers could achieve in the ’80s. That’s not to say most 7×5 fonts don’t achieve their intended purpose – they are quite good at simulating various visual displays – but none were what I was looking for on this project.

Zenny Coins, font from Black Tiger, © 1987 Capcom
That’s when I stumbled upon Fonstruct through Google. Seeing some of the pixel/dot matrix fonts others were sharing, I watched the FontStruct how-​to video and started making one myself; that eventually became my DMP-200 RS font. While I did not create an exact match, it does come close to my archived papers from the 1980s.

I once attempted to alter Tommy Cary/MarianFudges’ “Texas LED” True Type Font into what eventually became my CASIOpeia font, but it proved too difficult at the time. Having a vast, unstruc­tured field in something like the old Fontog­rapher can be quite daunting to a novice. Even the few copy-​protection dingbat/symbol fonts I managed to create to repli­cating old computer game manuals were all initially based on a grid of individual squares that I would subse­quently modify and shape…

That being said, I wasn’t crazy about pixel fonts, per se, before my experi­ences with FontStruct. They only had an inherent appeal to me if they were somehow related to video arcade games, computer games or had a science fiction feel. Now, thanks to FontStruct, minimalist pixel fonts are a category I am thoroughly enjoying.

Buzzard Bait, font from Joust, © 1982 Williams Electronics Inc., and its sequel,
Joust 2: Survival of the Fittest, © 1986 Williams Electronics Games, Inc.

Where did your fasci­nation for vintage arcade game typog­raphy originate?

Coming of age during the birth of video games was a tremendous influence on me, as it was for most of my generation.

Aside from typing tutorial computer games (pressing the correct key to blast the letter on the screen), typefaces aren’t front-and-center elements in 99.99% of video games – they are ancillary, yet necessary, compo­nents. They are mainly used for explaining the game’s “plot” or game play instruc­tions, keeping score, indicating level progression and entering initials/words for high-​score bragging rites.

Well before becoming a font enthu­siast, games that tried to do something different with the design of text appealed to me tremen­dously – especially those of a science fiction nature. For example, while I did not play Robotron: 2084 often, I was fasci­nated with the text because it looked “futuristic/computer-like” to me. With FontStruct, it just made sense: instead of using pixels to generate a video screen display, why not use FontStruct pixels to generate a font? The result was Genetic Engineering Error.

Genetic Engineering Error, font from Robotron: 2084, © 1982 Williams Electronics Inc.,
and its sequel, Blaster, © 1983 Williams Electronics Inc.

You seem quite obsessive (in a positive sense) in your efforts to catalogue all these fonts. How far do you want to take this project?

It’s an obsession borne from being a perfec­tionist with a penchant for collecting.

I’m afraid that it may be coming to an end pretty quickly. Most games used the design style repre­sented in The Video Arcade Game Font. Others used simple sans serif designs that aren’t terribly inter­esting. For numerous games, it’s difficult to get a full set of characters, and one of my goals was to make complete fonts for others to enjoy and use. Also, this is a rather selfish project – I’m only choosing fonts that appeal to me, rather than archive each and every available sample. Add to that, as graphics became more sophis­ti­cated in the mid-to-late ’80s, typeface design styles became less distinctive and more homog­e­nized. That’s not to say that there aren’t styles worth repli­cating, but they tended to become functional/utilitarian – very likely to avoid compe­tition with the enhanced graphics on the screen.

I have branched out into other categories, repli­cating existing fonts designs in pixel style (Material Electrons, OCR-A), and other types of LCD/video display fonts (CASIOpeia, Hand Aviator series).

Mag Not Mad, font from Mag Max, © 1985 Nichibutsu / Nihon­bussan Co., Ltd.

What are the aspects of FontStruct that make it so appealing?

• Democracy – This is a ‘free’ program for everyone. While not every font may be a master­piece (the infinite monkey theorem), everyone with Internet access can use the program to implement their design.
• Liber­ation – With limited shapes and strict placement on a pre-​set grid, this may seem paradoxical, but you don’t need to learn how to use profes­sional type design software, implement Beizier curves, worry about kerning, etc. If you have a type design idea, you can create it using FontStruct just as easy as using pencil and paper.
• Thera­peutic – I have found pushing pixels around the FontStruct field to be quite relaxing.
• Achievement – In as little as 20-30 minutes, you can complete an entire alphanu­meric set, giving a sense of accomplishment.
• Ownership – The ability to display and explain your font creations for others to enjoy.
• Community – The ability to share your creations with others and the ability to expand upon the ideas of other font designers creates a tremendous sense of community.

Son Of Zaxxon, font from Future Spy, © 1984 Sega; their second Zaxxon-like game.

Header image by Yves Peters