Kaitlyn Morison

High is defined by a set of simple ideas, or constraints. A non-geometric, humanist shape. A monoline weight. Stencilled, with a horizontal or vertical cut only, the stencil gap consistent ­ so positioned where that is possible.

Highs letter shapes, which because of the stencilling are free of awkward connections at curve-to-vertical, have a fluidity and simplicity.

By separating the letter elements, the stencilling makes the letters interesting, graphic shapes, making decorative words.

More High has two options High Bar, which is a linear serif, and High Ball which has a circle-serif, like a ball terminal.

The circle of HighBall suggests Didone typefaces, High Bar more utility, modern, slab serifs.

With High Bar, the vertical serifs are consistently sized and unusually long.

The shape repeats the c has same-size serifs top and bottom, letters such as the f, j, r and y have slab serifs, the serifs and tittles of i and j the same size.

These dash-serifs make a linear pattern, and has the feeling of a kind of a code.

The ball terminal of High Ball gives a decorative effect a series of floating, bouncing balls across words and text.

The ball device is added top and bottom of the c, the g, j and y to ensure balance and rhythm across words and text.

As with High Bar, the repeating pattern give a codified look.

Ano Angular was originally designed for a fashion company. It was to be used as a headline type, half way between the logo we had designed made up of straight lines only and our circle-based Ano typeface, which was to be used for text.

Its design is based on the idea of mixing circles with triangles into letter shapes in a modular, constructed way.

The effect is digital, mathematical, remeniscent of the typography of 1980s arcade games such as Asteroids.

The typeface that became Quair was originally planned as an extension of our Oban typeface.

As it developed it became different enough to be a stand-alone, but connected typeface.

Quair mixes typographic and graphic reference points, most notably from market-stall trader lettering and from Thorowgood and Scotch nineteenth-century typefaces.

Quair isnt an updating or redrawing of these. It adds different ideas to make a distinctive, separate-looking typeface. More The lettering by Market stall traders to advertise their products has immediacy and economy, but is expressive and surprising.

Letter shapes that look drawn but have a feeling of being written in quite a simple, unfussy way.

Shapes are big, decorative but unrefined, Quairs lettershapes have this idea of being reduced.

They are minimal, in that they lack subtlety, but are characterful and individual.

Round and Triangle serif options highlight this idea of the letters as graphic shapes, and offer a difference in emphasis between curvy and angular.

Like Oban, Quair takes inspiration from the Thorowgood, nineteenth century headline typefaces.

These have striking and idiosyncratic drawing, with exuberent, bold letter shapes.

As with the market trader lettering their character and individuality is expressed through an economy of drawing, and the impact of the high contrast between thick and thin.

Quairs character shapes have something of the sparse, rigorous quality of Scotch typefaces.

Scotch typefaces are known for their utility aesthetic. Quair has something of this, but typographic nuance has been reduced with a simplified, graphic shape.

Modulation has been replaced with binary thick/thin. An angular, basic and inelegant look, but functional and useable.