Another entry in my modular font series. This one, Medusa, started with me wanting to make characters that were so wide and stretched that you couldn’t really read it. Like the other fonts in this project, I wanted to push the limits of legibility and with Medusa I didn’t care how far I went. I intended this font to be written top-down instead of left-right, so each character would stack on one another.
It was fun to throw legibility out the window for aesthetic and keeping to the rules that I laid out. I wanted large serifs at each corner, sharp in edge but soft in along the border. The only corners would be at the four corners containing the letter form and all other strokes would be organic and curvy.
I made four weights and created a specimen for this first iteration. It was very much decorative rather than useful in conveying language.
Afterwards, I thought that I should redo Medusa and make it legible. This meant compressing the letterforms significantly. I lost the notebook where I toiled with shape and form on certain characters (especially the ampersand, curse you) but mostly just squashed them down.
Now, the font can read left to right and is more legible. From my constraints I admit that some letters are hard to distinguish. For example the T could be an M. I struggled with thinking about breaking the constraints that I had laid forth but thought against it. It is an experiment and I enjoyed working in the abstract initially. I didn’t want to let that go.
The light weight variant is probably too light to be useful, but I kept it because the contrast made it look exquisite and delicate compared to the bold and black versions. These look strong but a little drab since there is such little contrast between serif and stroke.