From the main reference picture, we culminate inspo pictures into categorized mood boards.
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After assigning different characters to each team member, using standardized letters "o," "h," "O," "0," "1,"and "H," which contain the base features for the rest of the alphabet, we begin hand drawing rough profiles on vellum paper. One unique challenge presented itself in a typeface with no straight edges. Over communication was crucial to achieve consistency in letters.

Once hand traced in ink, letters are tranferred into illustrator using a state-of-the-art camera phone, to eliminate any ink blemishes. Shown below are 7 variations of the letter Q ready for review by the whole team.

We then transferred these basic illustrator outlined characters into the Glyphs app made for type design. As type master, my responsibility was to optically and meticulously refine each character designed by all team members in order to synthesize our marginally idiosyncratic handwork into one cohesive font.

Measurement constraints were planned out using this template.

Characters with round terminals were especially a challenge and required extra time and attention to compliment their family. After lots of time playing around with each letter and (many breaks in between), I was sensitized to the precision of manipulating handlebars.

Up next was kerning and tracking. Once we agreed upon a good general tracking value for all letters, we looked at some special letter combinations and made a couple of ligatures to proportionally space them out.

In the meantime, we also tested out some visually favorable (and awkward) words in Figma to see if any further changes needed to be made before culminating into the final poster.

Some poster layouts were designed...