Shock of the Neue: Graffiti Fonts By Graffiti Writers

30 Jun 2006 Category: Features, Typography, Worldwide

Shock of the Neue: Graffiti Fonts By Graffiti Writers

Handselecta - a graffiti foundry

There are disparate voices and unique geographic ‘dialects’ within the subculture of graffiti that we often see, but may not recognize. The development of the worldwide web has only helped to accelerate the spread of graffiti’s popularity. With the advent of digital images being published widely on the internet, a writer today can browse innumerable pages of freshly-painted graffiti online the day it was painted, and immediately take that influence out with him or her to paint. The flipside of graffiti’s aesthetic globalization is that these regional styles of graffiti are being spread worldwide and that regional dialects might very well die due to the internet.

Written by Ian Lynam

This is where Handselecta comes in. One goal of this type foundry is to preserve and document stylistic histories and samples before they have disappeared, or have been swallowed by other aesthetic styles, as well as publishing a series of books documenting these dialects of graffiti.

various graffiti fonts vectorized by Handselecta

Spearheaded by Christian Acker and Kyle Talbott, both veteran graffiti artists and type designers, the fledgling type foundry is working with regional writers from the United States to create digital typefaces that take their inspiration from graffiti in their expressiveness, yet are regulated for evenness in typographic settings.

What do you feel that you are contributing with your project to turn local graffiti styles into well crafted typography?

Two-fold. One is an academic pursuit, seeking to give the practice of graffiti another form of validity. For outsiders to be able to distinguish good, well crafted graffiti from bad graffiti, is just the start. But it’s exciting for us to gather oral history and to establish a link between graffiti and calligraphy while making a new link from graffiti to typography, which is our real goal. Just as calligraphy has done in years past.

What kind of fonts have you released so far and what is your main focus?

We released our first volume of fonts this past January representing handstyles from Joker (DC, CA, Portland)…

Joker Font

… to Mene (NYC), Mesk (DC, Philly), Mesh (AOK Crew, NYC) and Sabe (NYC).

top to bottom: 1.Mene One’s typeface, an interpretation of cholo letterforms 2. Mesh AOK’s typeface of his handstyle 3. Mesk One’s typeface, a laid-back script font

We have a roster of a dozen other artists who we are currently working with on new fonts for eventual release.

The focus right now is handstyle scripts but eventually we will be expanding to develop fonts based on other forms of graffiti lettering as well. We also have a slew of other good spin off projects and products in the works.

And how did you take different writers’ handstyles and make fonts out of them? What is your process like?

We provide each contributor with a packet of writing exercises. It consists mostly of pangrams (sentences comprising all the 26 letters of the latin alphabet). There are about a dozen of them that they write out in upper case and then in lower case. We also try to get them to provide us with all the numerals and punctuation, so that we do not have to do any approximation or design of characters but each contributor designs all the characters for their font, including Euro and Yen signs, which they may have never written out before.

A sample of Mesh’s handstyle, as written in his writing sample booklet. You can download the sample booklet here

We then scan all of the writing samples and manually trace them, creating vector art. We will usually end up with several different iterations of each character at this stage. It then becomes more of an editing job than a design job. The baseline, x-height, and cap height are established. Cross bars and stems are tweaked to match. We then choose base characters first, caps and lower case. The writers and the type designer then work back and forth, deciding on which version of each letter best fits the typeface as a whole, while best representing the writer’s vision.

After the core upper and lower case characters are nailed down we go back and pull alternate (and often more extreme) versions of the capitals to utilize as swash caps.

Jerry trying out different swash caps for the Joker Font

After the characters for a regular version and swash caps are finished the outlines are then imported in a font design software, cleaned up, and maybe then made into lighter or bolder versions.

The final step before they are exported as a font file is to have the fonts all kerned. Every possible combination of letters is methodically adjusted so that the space between all letters creates an even rhythm and flow of the negative spaces between the letters.

How long does the digitization and regulation process take you?

I usually have several fonts at different stages. Usually a couple of months for each from start to finish. The goal is to put out 5 or 6 new families a year.

Its not easy to break it down that scientifically because its not my full time job. I am a graphic designer by day and I spend my nights and weekends kerning after I put the kids to bed. Designing usually takes a few weeks, but kerning seems to go on forever. Its usually longer for the Handselecta project than a lot of other fonts because its collaborative. All the decisions are not solely my own to make. There is a fair amount of give and take with the artists.

Before spacing and kerning the typeface

…and after!

Sabe’s “Ghetto Gothic” font

When regulating the handstyle for text setting, how far do you stray from the original?

We try to keep as close as possible to the spirit of the forms the artist provides us with. The main changes we implement are making all the character widths similar, stroke weight consistent, cap height, x-height, baseline and the angle of the characters consistent.

How would you go about making throwie or piece fonts?

We have a throwie font we just finished. It will be available free as shareware font with the publishing of Indie Fonts 3. Piecing is a different story entirely.

Kaws handstyle compared to…

…a piece by Kaws out on the street

I’m still looking for the way to translate the process. Of course piecing is still letterform based, but it has gotten so complex with its development over the last 30 years. Simple straight letter styles may be possible but wildstyles may be too much for type design to fully iterate. I’m not sure I even want to. Tagging translates to calligraphy so easily and the model of type design based on calligraphy is already there. I don’t know what model to look at to translate piecing to type design.

A sample of the Mene throwie font

What have writers’ reactions been to the fonts so far?

Pretty good. I think all of the contributors have been really proud of the fonts that bear their names. We’ve had a number of new writers approach us since the launch wanting to get involved. We’ve got a nice selection of artists and styles coming up.

What are the main concerns from writers who have their individual handwriting transformed into digital fonts?

The first being the whole focus on city-style and geographic influence makes some writers nervous. I’ve heard from some writers that they are nervous about being a representative of something greater than themselves. Often times they can actually describe and even represent the style prevalent from where they’re from, but want to do something a little more personally expressive and individual. I’ve also heard from some writers that its not fair to represent one city or another without including certain key figures. It’s kind of a balancing act. Handstyles are intrinsically personal and yet they always have certain influence that usually depends on where your coming from geographically, and who you follow in your crafts lineage.

And the second is a concern that digitizing and regulating handstyles kills the spirit of something thats meant to be hand done. It’s a tension that always concerns designers who know the difference. When do you utilize fonts that are available, when do you create custom type, and when do you customize an existing font? Some writers simply opt out of the project, preferring to only do custom lettering work. But the artists who have chosen not to participate have still been very supportive of the project.

individual style by Mesh

style by Mesh

How do you view graffiti vs. calligraphy vs. typography?

As well as Typography I studied calligraphy a bit. And for me the link is a natural one. What really interests me is in the history of calligraphy, you can see national characteristics inherent in the hands of different nations as they developed different aesthetics. The Romans gave us Quadrate and then Rustica hands. Later Italians contributed Humanist scripts, the Germans perfected Gothic, and the Irish are known for Uncial.

As the practice of type design grew many of these calligraphic hands have been developed into typefaces and eventually into digital fonts. We are seeking to do the same thing now with graff writers. Type doesn’t replace calligraphy. But then it doesn’t intend to either. Type is a different practice. While calligraphy demands a rigor and practice of form it is also about the freedom of form and handwritten quality. Type design is about finding the ideal of each letterform, so that when letters are repeated they create a rhythm and color distinct and natural to each typeface.

The interesting part to me is the similarity between graffiti and other developments in calligraphy, specifically the idea that geographic styles developed. Just as different hands of calligraphy rose in different geographic locations at different points in time. Different cities have their own styles.

some examples of the Philadelphia school of handstyle giving you a general feel for the Philly aesthetic: Abbs

Another example of the Philadelphia handstyle: Badan

For example, Philly handstyles are tall and skinny, often with rhythmic connecting letters in a script meets print sort of way.

An example of a Philly handstyle by Mesk

New York styles vary so widely but they tend to bounce, with a shift in scale, often with larger first or last letters on a tag. And the Cholo hands of Latin writers in Southern California have a unicase gothic influence, where each letters is printed and usually spaced.

An example of a San Francisco handstyle by Amaze

I’ve heard from old school writers that each borough in New York used to have distinctive styles, that you used to be able to tell a writer’s neighborhood based on their handstyle.

Thanks a lot, Christian!

60 Comments

  1. [...] 8 - Shock of the Neue: Graffiti Fonts By Graffiti Writers Does what it says on the tin. Link via Coudal partners. (tags: typeset style design computer fonts typography graffiti) [...]

    Posted by: Velcro City Tourist Board » Blog Archive » Links for 01-07-2006 on July 1st, 2006 at 11:21 am

  2. [...] Shock of the Neue: Graffiti Fonts By Graffiti Writers by Ping Mag. [...]

    Posted by: Graffiti Writers » Project Syndicate on July 2nd, 2006 at 3:13 pm

  3. Wat up

    Posted by: Jack on July 11th, 2006 at 5:20 pm

  4. tucker

    Posted by: Anonymous on July 13th, 2006 at 5:33 am

  5. Great to see legitimate graffiti handstyles finally surfacing the font world! For those who don’t know, HandSelecta is the ONLY place to get that official, quality, and field-tested graffiti grit style. Throw away those wanna be “graff” free fonts, and delete those other links to the “toy” sites, HandSelecta is all you’ll need

    Posted by: Wes W on July 27th, 2006 at 3:38 am

  6. WUZ UP

    Posted by: TIFFANY on August 21st, 2006 at 9:58 pm

  7. Nice. I like the Mene font.

    Posted by: e*rock on August 24th, 2006 at 1:19 pm

  8. i would like to join!

    Posted by: whitney on September 6th, 2006 at 6:16 am

  9. You guys have some nice styles but I just wanted to point out that Full Time Artists first released a collection of fonts like this in 2001 (5 years ago). I respect what your doing but whoever is writing that you are the first ones to do this has thier info wrong. You can see a bunch of thier fonts at http://www.graffitifonts.net

    Posted by: San Jose Cali on September 19th, 2006 at 12:07 am

  10. jon

    Posted by: Anonymous on October 17th, 2006 at 7:03 am

  11. Buon luogo, congratulazioni, il mio amico!

    Posted by: Pompini on November 15th, 2006 at 2:50 pm

  12. Get some info on Baltimore handstyles! Nice page.

    Posted by: mike on December 15th, 2006 at 1:52 am

  13. Al Pacino

    Posted by: Anonymous on January 5th, 2007 at 12:39 am

  14. Adrian

    Posted by: Anonymous on February 15th, 2007 at 11:52 pm

  15. sun cancer

    Posted by: Anonymous on March 15th, 2007 at 10:43 am

  16. okokokokokok nice

    Posted by: looney on March 25th, 2007 at 9:01 pm

  17. yo wat up lady shadow

    Posted by: ana on April 19th, 2007 at 5:03 am

  18. i love u!!!

    Posted by: Anonymous on April 20th, 2007 at 10:54 am

  19. Kaah e Thiago.

    Posted by: kaah e thiago. on May 20th, 2007 at 3:02 pm

  20. gangs

    Posted by: Anonymous on June 1st, 2007 at 2:51 am

  21. u need put up some real philly hand style them hands are wack they aint represented true philly..

    Posted by: joeske on June 5th, 2007 at 1:33 am

  22. iuoiuoliul

    Posted by: Anonymous on June 10th, 2007 at 2:10 am

  23. I’m actually working on a vector set (not typeface) with graffiti fonts and elements. you can see it here, feel free to drop some feedback!

    http://flickr.com/photos/vjshikaku/484047854/

    Posted by: Miguex on June 12th, 2007 at 6:16 pm

  24. william

    Posted by: Anonymous on June 25th, 2007 at 1:19 pm

  25. get sum real graf init

    Posted by: titch on June 26th, 2007 at 10:00 pm

  26. hoooooo very nice i wamm tree somthing but not now

    Posted by: B-boy Tintin on June 27th, 2007 at 12:18 am

  27. SOUTHSIDE

    Posted by: JORGE on July 1st, 2007 at 7:14 am

  28. ooooweeeeee

    Posted by: Anonymous on July 13th, 2007 at 7:47 am

  29. fukkin niggaz and der permenent markaz…dat shit makez me laff so hard.

    Posted by: ANONYMOUS on July 17th, 2007 at 9:53 am

  30. de lujo yea …very great

    Posted by: keoser on July 31st, 2007 at 11:32 am

  31. kosa

    Posted by: Anonymous on August 7th, 2007 at 12:21 am

  32. dsa

    Posted by: Anonymous on August 7th, 2007 at 2:04 am

  33. mad ass

    Posted by: luke on August 11th, 2007 at 6:16 am

  34. boom neg

    Posted by: Anonymous on August 19th, 2007 at 11:09 am

  35. JORGE

    Posted by: Anonymous on August 23rd, 2007 at 11:28 am

  36. A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

    Posted by: Anonymous on September 6th, 2007 at 7:23 am

  37. chido

    Posted by: irving on November 2nd, 2007 at 10:50 am

  38. lissette wusz here

    Posted by: lissette on November 5th, 2007 at 9:42 am

  39. mercedes

    Posted by: Anonymous on November 6th, 2007 at 3:33 pm

  40. styles for the name

    Posted by: zerks on November 7th, 2007 at 11:03 pm

  41. te amo nstor

    Posted by: karoLinaa on November 13th, 2007 at 3:00 pm

  42. Man i yhink graffiti is am art its all some ppl got it’s how they exress them the real them dont judgr on yhe way they look or even sometimes on how they act but on there personality!!!☺♥♥♥♥♥♥♥♥

    Posted by: amber (NY) on November 23rd, 2007 at 10:03 am

  43. I would my name like a graffit

    Posted by: marty&manu on November 25th, 2007 at 9:11 pm

  44. jake

    Posted by: Anonymous on November 28th, 2007 at 7:58 am

  45. o nice handey

    Posted by: Anonymous on December 31st, 2007 at 3:13 pm

  46. NIce .,..

    Posted by: @leks on February 16th, 2008 at 5:17 am

  47. thanks for your subject. it is very important

    Posted by: nakliyat on February 29th, 2008 at 5:10 am

  48. DIMES
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    TCOER
    SLOTH
    REHAB

    TRADE
    MARKS CREW

    Posted by: TOER_TMK on March 3rd, 2008 at 6:00 pm

  49. ALE

    Posted by: Aly on March 7th, 2008 at 8:47 am

  50. orale dude

    Posted by: NOwayMAN on March 7th, 2008 at 8:49 am

  51. To whom it may concern. i would love to get copies to practice my tagging is that possible,

    Posted by: Bo on March 19th, 2008 at 2:46 am

  52. my name’s Phiro^^

    Posted by: messi on March 30th, 2008 at 6:25 am

  53. yo thx 4 link san jose

    Posted by: Anonymous on June 28th, 2008 at 3:57 am

  54. phaze

    Posted by: Anonymous on January 23rd, 2009 at 2:34 pm

  55. DUUUUDE THATS A PHILLY HAND DOOOD SWEEEEET DUUUUUDE. NOW I CAN WRITE GRAFFITI!!!! DOOOOOOOOOOD DOOOOOD DOOODODOODODDOOOOOD DOOD>>>>>>that was an arrow-> see? $$$ thats a money sign. IN PHILLY WE HAVe EIGHT DOGS!

    Posted by: DICK on April 3rd, 2009 at 1:21 pm

  56. I have been searching all over for this information..Thanks

    Posted by: ELIZABETH on August 16th, 2009 at 1:34 am

  57. как бля скачать

    Posted by: ОЛОЛОЛОЛО on March 23rd, 2010 at 9:34 pm

  58. amaze is dope but thats not really a frisco hand

    Posted by: Anonymous on March 29th, 2010 at 3:11 pm

  59. [...] well. New identity pieces posted for Bodhi Vela Cole and Le Pigeon.  New article for Ping Mag up here. New shirts for KISS posted, as well as shirts for The Cult in the apparel section. Recently [...]

    Posted by: Ian Lynam Creative Direction & Graphic Design » Blog Archive » 08.22.2006 on August 20th, 2010 at 10:05 pm

  60. [...] Shock of the Neue [...]

    Posted by: Ian Lynam Creative Direction & Graphic Design » Blog Archive » Articles on PingMag on August 20th, 2010 at 10:07 pm

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