Being a type designer can be weird. You create your design. Share it with the world. And then someday, unexpectedly, it shows up again.
I designed SbB Powertrain over a decade ago and I was very surprised to see it pop up in a clip of Gamecock Women’s Basketball player Ali Tournebize dunking in the 2024 Eurobasket U18 bronze medal game. Turns out that FIBA uses Powertrain as part of the identity for their Eurobasket tournament. It was used heavily for the 2024 and it looks like they are still using it in some places. Here are a couple of examples that I stumbled across.
I recently created a couple of new fonts over on Fontstruct: SbB Crunch’d and SbB Papaya 26.
SbB Crunch’d
SbB Crunch’d is a little random. Normally when I start working on a type design, I have an idea of how it will be used. In this case, I started with the shape of the “scalloped edges” and built out the font from there. I like how it turned out, even if I have no idea how I’d use it in a layout.
Rian Hughes is one of my favorite type designers. This brief interview covering his 30 years of type design and promoting his Kickstarter was wonderful. (Also, I completely backed the Kickstarter!)
Experimenting with new features in Fontstruct, Photoshop, and Glyphs has inspired the creation of two new font designs, SbB Vertica and SbB Roundabout.
Sixteen years ago today, I shared my first Fontstruction… Big Thursday and it was selected as a Top Pick. Fontstruct has improved as a tool so much since those early days, but it’s still every bit as fun to play around with.
(Oh, and back then, the editor was built in Flash!)
Some creations are foundational. If you design a typeface, other people create things using that font. Photographers and illustrators create works of art that can be incorporated into other designs. Brand design crafts visual and verbal foundations that others can build on. These days, I’m much more interested in these foundational creations than I am designing ads or billboards.
Every so often, Fontstruct has a themed competition and the current competition focuses on the new color features. I’ve pulled together three color designs that try to use color in different ways — a pattern, a bright multicolor whimsical design and a 3D effect.
One of the fun things about the competitions is the amazing creativity that comes out of the community. Fonstructors can interpret the theme is very different ways and it’s always amazing to see the varied approaches driven by a simple prompt. I’ve entered a few times and even got an honorable mention once in the “Reverse” Competition for SbB Codebreaker. I will also note that I’ve been impressed with how Affinity Designer has handled the color fonts. Seems to work flawlessly.
I’ve been thinking about color fonts lately. Experimenting with the color fonts features in Fontstruct and Glyphs. Trying to better understand how to create color fonts. And while I’m starting to understand how they are made, I’m left with one major question… why?
Why do we need color fonts?
If you don’t know, fonts are typically monochromatic. Black and white only. Color is applied in software like Adobe Illustrator or Microsoft Office. The ability to customize is limitless.
About 16 years ago, I started playing around with Fontstruct, an online tool for crafting modular typefaces. I’ve released 48 designs on Fontstruct and some of those have served as prototypes for designs that I finish in Glyphs, my favorite type design app. I tend to work in Fontstruct intensively for a while, and then disappear for a year or more. But I love the tool and contribute as a “Patron.”
I’m back to playing around on Fontstruct. Just published SbB Powercore, a unicase, pixel-inspired design. I’m digging this combination of unicase characters. Still a work in progress.
Spent the evening troubleshooting some fonts that I’m going to sell through MyFonts. Finally think I’ve got everything fixed, but I want to look at again with clear eyes in the morning.
I missed that Lego released a refined visual identity a couple of weeks ago that includes a new typeface, Lego Typewell, based on brick proportions. I really like it. The best detail I’ve found on the typeface is on this review from BP&O.
I decided a while back that I wanted to separate my typeface designs onto their own site. They’ve always lived alongside my blog and other creative projects, but they needed a home of their own, especially since I plan to expand the offerings in the near future. I’ve been noodling around with options, but today, I’m finally ready to release SbBFonts.com out into the world with a design inspired by two-color printing.
Here’s the other one I’m finishing up: SbB Directorate. Inspired by scifi bureaucracy and named after the government in Buck Rogers. Weight, width and slant axes.
I’ve been working on a couple of variable typeface designs lately. This one is SbB Departure Mono, based on a old Fontstruct design of mine. Two axes: Weight and Slant.
Working on a typeface design tonight and I’m really grateful for the comprehensive documentation available for Glyphs 3. Good user manuals are a lost art, and sometimes, you just need a reference guide to look something up.
I realized this morning that I’ve been using Fontstruct for 15 years. Fontstruct is an online tool for building modular typefaces. My first typeface design — Big Thursday — debuted on May 26, 2009. Since then, I’ve publicly released 49 fonts on Fontstruct and 19 have been selected as “Staff Picks.”
The original version didn’t have a lot of flexibility,1 but over time developer Rob Meek has added new brick types, construction methods, kerning, support for color fonts and other features to Fontstruct to make it more powerful. My work tends to be a little brutalist, but if you want to understand the flexibility of the tool, check out the gallery to see what amazing creations people can craft with this online tool.
Now that the semester is over and I’m not teaching classes or taking classes, I’m really looking forward to working on some personal projects. I want to do a little more customization to my Micro.Blog theme, I’ve got some fonts to finalize, and some merch to design.
