Farop (short for Fanning a Ream of Paper) is an inline display type family that employs non-rhythmic stroke widths, layered overlays, and unconventional alignments to create a distinctive multi-lined aesthetic. It deliberately breaks away from traditional typographic conventions by disregarding standard baselines in favour of chunky, brutalist letterforms and self-determined vertical positioning.

Farop Freestyle (shown here) is composed of eight coloured layers, each manipulating the glyphs with differently coloured stripes. It serves as a visual reference for the wide range of styles that can be achieved with the Farop family, while also functioning as a ready-to-use colour font for bold, maximalist inline typography.

The complete Farop type family, including five individual weights (Farop 1 to 5), Farop Freestyle, and Farop Stack (the original monochromatic gradient variant), is available to download for free at fauxicing.com.

A different attempt at recreating the lettering of the RISO logo and inspired by the custom type featured in a Gaji periodical by Corners Studio.

I've drawn a similar typeface previously in Illustrator but with a varied set of glyph styles called Risalto, free for download in my font bundle.

Been playing with my extra Colourcomp slots and layering the 'macaroni' bricks to see what shadowplay I can get out from it, resulting in what become as stated in the font name, Farop (Fanning a Ream of Paper).

I was inspired to indulge in the great abandonment of a typographic baseline when I saw how anotherSerif by Xiaoyuan Gao disregards its convention and produced a wonderfully cheery dot matrix font work. Thus, even with the limitations implemented by the 'ream' brick compositions, quirky glyphs can still be made out of them.

I have a feeling that I'll be disregarding baselines a lot more moving forward, ever since how the Numberscomp brought to my attention the energetic disposition of oldstyle numerals.

Gob (a portmanteau of ‘gastric’ and ‘blob’) is a playful display font family with knobbly silhouettes, not unlike a digestive tract. What began as an inverse typographic experiment evolved into multiple styles (Verti, Hori, and Uni with a set of alternates) through stretching, squeezing, and reworking its stroke segments. Later, a FontStruct colour font competition pushed Gob further, spawning the pixelated, shadow-layered Pixi variation.

Download the full family for free at www.fauxicing.com/fonts.

Gob (a portmanteau of ‘gastric’ and ‘blob’) is a playful display font family with knobbly silhouettes, not unlike a digestive tract. What began as an inverse typographic experiment evolved into multiple styles (Verti, Hori, and Uni with a set of alternates) through stretching, squeezing, and reworking its stroke segments. Later, a FontStruct colour font competition pushed Gob further, spawning the pixelated, shadow-layered Pixi variation.

Download the full family for free at www.fauxicing.com/fonts.

Gob (a portmanteau of ‘gastric’ and ‘blob’) is a playful display font family with knobbly silhouettes, not unlike a digestive tract. What began as an inverse typographic experiment evolved into multiple styles (Verti, Hori, and Uni with a set of alternates) through stretching, squeezing, and reworking its stroke segments. Later, a FontStruct colour font competition pushed Gob further, spawning the pixelated, shadow-layered Pixi variation.

Download the full family for free at www.fauxicing.com/fonts.

Gob (a portmanteau of ‘gastric’ and ‘blob’) is a playful display font family with knobbly silhouettes, not unlike a digestive tract. What began as an inverse typographic experiment evolved into multiple styles (Verti, Hori, and Uni with a set of alternates) through stretching, squeezing, and reworking its stroke segments. Later, a FontStruct colour font competition pushed Gob further, spawning the pixelated, shadow-layered Pixi variation.

Download the full family for free at www.fauxicing.com/fonts.

Gob Pixi is an amalgamation of different experiments with colour, display type and visual effects throughout the years of working with a comfortable, personal design palette.

Having been obsessed with grain textures and primary + secondary colours throughout the start of 2020s, I was moved to translate that into typography after seeing Kilotype's Lofi Forest "fizzy-fying" an otherwise sharp-looking Roman/Serif.

Also, I have worked on a type project that got me to layer different coloured shadows and highlights above each other, so this is my attempt at translating that effect onto another typeface that I've shelved for quite a while now. (I happened to come up with something similar to Get Yourself Connected by chance and didn't know what to make do with it.)

Newt is a spinoff from Salamander but reduced to a 2x2 grid system. Originally planned for 2023's iteration of 36 Days of Type, but later scrapped due to time constraints.

Available to download for free as part of a font bundle over here.

Part of the Stu font family, Stu Hi utilises flair/swash-like ascenders to extend characters upwards. The character glyphs can be used interchangeably between the various Stu styles to achieve a more "bouncy" typesetting effect.

Stu pays homage to oldstyle numerals, where type designers vary the heights of numbers to resemble a line of running lowercase text. It seeks to address the question: "What if every lowercase alphabet also had varying heights?" The result is a font family with full-fledged ascenders ('Hi'), strictly x-heights ('Mid'), and only descenders ('Lo').

You can view the documentation of the Stu font family design here.

Part of the Stu font family, Stu Mid keeps all lowercases tucked within the x-height space. The character glyphs can be used interchangeably between the various Stu styles to achieve a more "bouncy" typesetting effect.

Stu pays homage to oldstyle numerals, where type designers vary the heights of numbers to resemble a line of running lowercase text. It seeks to address the question: "What if every lowercase alphabet also had varying heights?" The result is a font family with full-fledged ascenders ('Hi'), strictly x-heights ('Mid'), and only descenders ('Lo').

You can view the documentation of the Stu font family design here.

Part of the Stu font family, Stu Lo utilises flair/swash-like descenders to extend characters downwards. The character glyphs can be used interchangeably between the various Stu styles to achieve a more "bouncy" typesetting effect.

Stu pays homage to oldstyle numerals, where type designers vary the heights of numbers to resemble a line of running lowercase text. It seeks to address the question: "What if every lowercase alphabet also had varying heights?" The result is a font family with full-fledged ascenders ('Hi'), strictly x-heights ('Mid'), and only descenders ('Lo').

You can view the documentation of the Stu font family design here.

The heavy version of Capsaicin released back in 2020. Adding thickness wasn't that straightforward due to brick limitations. Alternate construction methods were implemented on the glyphs to create similar inktraps without sacrificing the innate qualities of the typeface.

I would like to continue working on it to make it more visually consistent, but I'll stop at this moment or else it might be a perpetual WIP.

A spur-of-the-moment project. An exploration of geometric silhouette conformation and fun Futura-based alternates (specifically, using the circles as strokes).

Glyph alternates can be accessed under the Cyrillic characters.

Motter Ombra, Chwast Artone... and Chemical X? Though it can't defeat the forces of evil, this typeface decides to become one of such a force. All wedgy, spiny, and slice-y, Salamander is an unnerving remix of 70s display classics. If you love alternative things, this is for you! Nothing says "I'm edgy" more than the multiple edges this typeface can serve with its strategic nooks and crannies.

About the name Salamander, this typeface's like an Axolotl, it's cool yet strange.

An evil-looking condensed display serif that I just happened to stop progressing it after a while. Guess I wasn't feeling it anymore.

Based on Motter Ombra. The capitals was a block in the road when I was working on this. It's also quite illegible. 

Cardamom was the starting point for the gradual discovery of what later became my latest released typeface MX Capsaicin that I introduced back in September last year. It was based on Macabre by Dave Coleman. I didn't complete the Basic Latin glyphset.

Mipo was the precursor for what evolved into the later MX Wasgard typeface that was released back in November 2016. That's why the S and Z looks the same is Wasgard's. It evokes visuals of mosaic designs found on window panes, or that's how I feel.