Overview
DISPLAY IS TEXT, TEXT IS DISPLAY
Stonehenge family experiments with unconventional letterforms, trying to bring Display and Book weights together. The regular weights are legible enough to be set at small sizes for long paragraphs and also elegant and unique enough for large displays.
Stonehenge family features three weights for different uses. Its letterforms are heavily focused on the relation between curves and lines. The original idea was to create a type only consists of straight lines while not hindering too much with legibility. Once the rough drafts of the letterforms were created, a system was created to make the inconsistencies consistent. A lot of traditional type design rules do not apply for Stonehenge's unique letterforms such as the idea of hairlines, contrast (to some degree), stress, and even the relation between stems and bowls. As a result, I created my own system that characterize the defining features of this typeface.
The fact that people perceive type very differently in different sizes is largely exaggerated in Stonehenge. Many of the expressive relations between straights and curves in its letterform get lost when the type is set for book sizes, leaving the essential bare-bones. I'm glad that Stonehenge successfully carries the familiar bare-bones of types that legibility is achieved.
Weights
Regular, italic, bold
Opentype Typeface
Stonehenge family features three weights for different uses. Its letterforms are heavily focused on the relation between curves and lines. The original idea was to create a type only consists of straight lines while not hindering too much with legibility. Once the rough drafts of the letterforms were created, a system was created to make the inconsistencies consistent. A lot of traditional type design rules do not apply for Stonehenge's unique letterforms such as the idea of hairlines, contrast (to some degree), stress, and even the relation between stems and bowls. As a result, I created my own system that characterize the defining features of this typeface.
The fact that people perceive type very differently in different sizes is largely exaggerated in Stonehenge. Many of the expressive relations between straights and curves in its letterform get lost when the type is set for book sizes, leaving the essential bare-bones. I'm glad that Stonehenge successfully carries the familiar bare-bones of types that legibility is achieved.
Weights
Regular, italic, bold
Opentype Typeface
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