Mars
Mars
Mars
Mars
Mars
Type Design
Type Design
Type Design
Type Design
Type Design
What started out as an exercise in sketching unconventional letterforms turned into a font that combines a number of different structures, yet feels cohesive. Mars is an experimental, groovy, quirky display face that features characters that are out-of-this-world.
In its current version, only the lowercase exists and things are still being refined and revisited.
What started out as an exercise in sketching unconventional letterforms turned into a font that combines a number of different structures, yet feels cohesive. Mars is an experimental, groovy, quirky display face that features characters that are out-of-this-world.
In its current version, only the lowercase exists and things are still being refined and revisited.
What started out as an exercise in sketching unconventional letterforms turned into a font that combines a number of different structures, yet feels cohesive. Mars is an experimental, groovy, quirky display face that features characters that are out-of-this-world.
In its current version, only the lowercase exists and things are still being refined and revisited.
What started out as an exercise in sketching unconventional letterforms turned into a font that combines a number of different structures, yet feels cohesive. Mars is an experimental, groovy, quirky display face that features characters that are out-of-this-world.
In its current version, only the lowercase exists and things are still being refined and revisited.
What started out as an exercise in sketching unconventional letterforms turned into a font that combines a number of different structures, yet feels cohesive. Mars is an experimental, groovy, quirky display face that features characters that are out-of-this-world.
In its current version, only the lowercase exists and things are still being refined and revisited.
Mars began as a sketch of the number 2, an unconventional starting point to say the least. What stood out was the stark contrast between thick and thin, and how the inner contours were fluid and smooth.
From there, letters began populating the character set following the structure laid out with the 2: high contrast and thin forms in the middle of the glyph. In order to accommodate the bulkiness, some glyphs needed strokes that interrupted the heavy stems.
Mars began as a sketch of the number 2, an unconventional starting point to say the least. What stood out was the stark contrast between thick and thin, and how the inner contours were fluid and smooth.
From there, letters began populating the character set following the structure laid out with the 2: high contrast and thin forms in the middle of the glyph. In order to accommodate the bulkiness, some glyphs needed strokes that interrupted the heavy stems.
Mars began as a sketch of the number 2, an unconventional starting point to say the least. What stood out was the stark contrast between thick and thin, and how the inner contours were fluid and smooth.
From there, letters began populating the character set following the structure laid out with the 2: high contrast and thin forms in the middle of the glyph. In order to accommodate the bulkiness, some glyphs needed strokes that interrupted the heavy stems.
Mars began as a sketch of the number 2, an unconventional starting point to say the least. What stood out was the stark contrast between thick and thin, and how the inner contours were fluid and smooth.
From there, letters began populating the character set following the structure laid out with the 2: high contrast and thin forms in the middle of the glyph. In order to accommodate the bulkiness, some glyphs needed strokes that interrupted the heavy stems.
Mars began as a sketch of the number 2, an unconventional starting point to say the least. What stood out was the stark contrast between thick and thin, and how the inner contours were fluid and smooth.
From there, letters began populating the character set following the structure laid out with the 2: high contrast and thin forms in the middle of the glyph. In order to accommodate the bulkiness, some glyphs needed strokes that interrupted the heavy stems.
