Think of it like a version of HTML, except code tags are replaced with invisible control characters that you usually enter by typing Ctrl+ in your IRC or MUD client. Text can be colorized, stylized, and so on. Most of these have fairly intricate text protocols. My first uses of them were in pixel comics, IRC, Multi-User Dungeons/MUDs, and the like. They’ve been used in album covers, book covers, games, chat clients, browsers, terminals, and a bunch of other things that I’m not even aware of. How have you used the fonts which you have created? I spent a lot of time on this, so I guess my background is really in typesetting and graphic design more so than typography.Īfter that, I hardly did anything with text for a while, until I began doing pixel art, which eventually led me to FontStruct. These involved things like making letters look as if they were made of gold and encrusted with jewels (an idea that had a bit of a resurgence with Disco Bling), making glyphs look like gems or engravings, and so on. This led to me following–and then making–a number of styled text techniques. In early adulthood, I began doing digital art using Photoshop 7. I don’t remember how it worked or looked though, because the ink cartridges ran out quickly, and that was over 20 years ago. Since I’m left-handed, many of the strokes were impractical to perform, so I had to invent my own system. Later, in my early teenage years, I got a calligraphy set from a mail-order catalogue. This began with classics like the bubble letters and the cool S which just about everyone has seen before. I was often bored in school and doodled a lot. How did you get interested in typography? We plied him with unfamiliar and exotic bricks from distant regions, and eventually he agreed to satisfy our curiosity and answer some of our questions about his FontStructive life. ![]() We waylaid this mysterious character from the fringes. While there is plenty of quirky detail to discover in each design, when you take a step back you will see the coherence and balance of the whole. His ouevre is extremely diverse – from pixel designs, through all kinds of geometric experiments, to the occasional, seemingly-reserved, sans-serif – but in each FontStruction you will recognise the distinctive, confident signature of the well-practised artist. While quiet of late, between 20 Zephram was an extremely prodigious and influential contributor to FontStruct, publishing a total of over 700 FontStructions to date.
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