Piper Blackall

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

This is an Arabic font designed according at the standards of Calligraphy. It contains a consistent styling and can be used in many functions.

Darlene is a sans with contrast and round corners. The absence of serifs results in a clean look, the contrast adds a touch of elegance and the soft edges help to keep it all friendly looking. So whenever you need to convey any of these traits, Darlene is perfect for you. Mainly intended for headlines, logos, invitations or other display uses, this font family provides enough readability to be used for short texts, especially the lighter weights. This means that Darlene is great if you want to use it as a counterpart to a script or handlettering, or simply to juxtapose a more playful or kitschy font. Darlene is available in three weights with italics and equipped with lots of accented characters to cover heaps of languages using the latin alphabet.

In the neighbourhood of  Bajos de Mena (Puente Alto, Chile) there are many stores and shops with signs and printed posters using typefaces such as Arial or Helvetica. These typefaces are used for all different purposes, from 8 pts to gigantics sizes, because local people would work with what they have within reach, also in terms of fonts. «What is Helvetica doing here?» that is the question that led me to design Mena Grotesk, a sans serif typeface for Bajos de Mena. Mena Grotesk is a Neo-grotesk typography made in the Chilean way. Gifted with a more humanist proportion, with sharper inner curves and softer outer curves, Mena Grotesk counts with the character to stand out in big sizes and enough control to not distract the reader: it is a typeface to be seen and to be read. Mena Grotesk is a full time worker font, a “handyman”, as my people. Mena Grotesk is composed by 20 styles, 886 glyphs and Small Caps. Besides, it has powerful OpenType features for each style, including stylistic sets, borders and patterns, extended language support, ligatures, contextual alternates, lining figures, oldstyle figures, arrows, circled and black circled numbers, fractions, superscripts, subscripts and many more.