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Type Innovations dynamic new geometric "stencil" sans font
I have been in the type design business for more than three decades. I started my career with Mergenthaler Linotype (aka Linotype-Hell) in 1976. I was fortunate to have worked with Matthew Carter, David Berlow and many other world-renowned type designers. It was a privilege to work with John Quaranta, a 30-year veteran designer who was my mentor, my colleague and my friend. In those early days, I worked with pen and pencil and used specially designed optical lens and cameras to modify and convert many ITC typefaces over to the "Linotype Font Library". We also cut "friskets" from our hand drawn letters in the photographic conversion process to "photo'" and later for "digital" printing systems. Shortly thereafter, we utilized the "Ikarus" computer system to hand digitize and interpolate many new weights and typeface designs. And then, everything changed with "Adobe PostScript" and the new font technologies. I even worked closely with Apple on it's "Quickdraw GX" multi-master font technologies which later became the "OpenType" font standard for both Mac and PC.
I have worked on many hundreds of different typeface designs during my career with Linotype. And I was fortunate to witness and partake in all the different stages of type development over the years. During the last ten years with Linotype, I worked exclusively on reviving the work of the American Type Designers including Dwiggin's "Electra" and Ruzicka's "Fairfield. Expanding the styles, weights and functionality of many other designs as well.
After Linotype, I worked for a large advertising company, Bozell-Worldwide, known for their famous "Got Milk" ads. And later, I went to work for "DoubleDay" Books (aka Bookspan) creating hundreds of book jacket layouts and designs for about 20 different book clubs. Currently, I work from home as a freelance consultant, allowing me to pursue my passion for type design and developing new and innovative fonts.
It's challenging to add fresh new typeface design ideas with so many fonts out there today. To coin a phrase "All the good type design ideas have already been taken". But, I still keep trying. Although I occasionally do a new text face, the majority of my work is in display fonts. Much more interesting to experiment with a single font concept then working out and coordinating a super-family of weights, styles and fonts. Although, creating "Geomatrix" was no small task. I started by modifying a weight of my "Contax Pro and creating an interesting "stencil" version. And, I thought the work was done. Then, I decided to expand the glyph sets to include "oldstyle figures" and all the "Eastern European" characters sets. I should of stopped there. But, no, I had to continue to play with the design to include all sorts of alternate 'capital' letter forms and unique 'ligature-type' word combinations. After 1,629 glyphs I finally stopped. I hope the effort was worth it. I'm exhausted.
I would like to publicly thank everyone at this "Type Forum" for helping me resolve certain 'encoding' and "OpenType" feature issues. Without your help I probably would have given up much earlier. Please let me know what you think of "Geomatrix. Thank you. And, I'm off to the next font(s) !!!
The font " Geomatrix is an original design by Alex Kaczun. It is a dynamic stencil interpretation based on his extremely successful "Contax Pro family of geometric sans typefaces. "Geomatrix" is a contemporary stencil typeface based on generous proportions and clean, crisp lines.The stencil treatment is balanced visually with the stem weight of the font which creates a uniformity and harmony within the design. "Geomatrix" makes for easy reading and is ideal for long lines of copy. It exudes a strong sense of sophistication for a true stencil design.
However, this is no ordinary stencil typeface. That's putting it mildly. Geomatrix is a font on 'STEROIDS"! This unique OpenType font incorporates hundreds of "CAPITAL" alternate letter forms and glyph substitutions, automatically and on the fly, within "InDesign" and other "OT" applications. To turn this feature on, just typeset 'ALL CAPS" and go into InDesign's 'OpenType>Stylistic Sets' and select 'Set 1' from the menu. Turn character kerning from "Metrics" to "Optical", adjust tracking to minus 20-30, and start typing to create some visually interesting letter substitutions and unique word combinations. "Geomatrix" was specifically designed to take advantage of the OpenType format, allowing the "Graphic Designer" a unique tool to achieve the desired degree of possible visual typographic effects.
And finally, the character sets in "Geomatrix" have been expanded to include 'oldstyle figures' and all 'Eastern European' accented glyphs. Strap in and hold on to your seats. A revolution in new font technologies has begun!
***Shortly to be released on 'myfonts', 'philsfonts' and 'fonts.com'.***
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