In the past, the ironsmith made their own identical ironwork, which is identical and traces back to the maker, as seen in façade anchors found in old buildings. My sudden fascination with this analog craft led me to ponder: "Can my digital type design profession also be considered a craft?" Because type design and ironsmithing require a lot of time, knowledge, and precision.
By examining, dissecting and then reconstructing the forged façade anchors according to the method of the two disciplines I want to show how our work methods can combine. Resulting in a typeface where the process embodies an intense interplay between the realms of pixels and raw physical materials. It's a discovery of the perfect shape for each character/façade-anchor, allowing me to execute the design process both digitally and physically. The iron façade anchors serve as a thought-provoking exploration of the concept of craftsmanship in the digital age.
Peter Roeleveld is a typedesigner who has grown up in the field of graphic design. His typographic works are most commonly published as typefaces, where he aims to embody unique concepts within the shapes of his letters. These concepts typically reflect specific events or interests in his life. 'If I didn't work at a stonemasonry, a typeface of mine wouldn't came to existence because it resembles an interest I've developed in the stone material at the time being.
Striving to deliver works that is not always digital based, but also explored on physical materials as well. Peter is no stranger to exploring a wide variety of themes within his typographic works, whether it's traditional type on paper or experimental typography where rules can be broken.
Having my own practice where I can collaborate with clients on typography related projects. Besides working on client projects, I would love to boost my existing type design knowledge even more by creating and releasing more typefaces on my website.
Learned during your studies
You learn the most from your classmates and the people around you.