FIN / Embroidered Shirt / 03.01.2005
Fine Print‘s brief was to create a t-shirt giveaway that clients would actually wear.
The embroidered ‘F’ created a tactile relief from the obvious solution of screenprinting.
FIN / Embossed Stationery / 02.01.2005
The second suite of stationery designed for Fine Print used a full sized emboss block.
The ‘F’ was implied through the un-embossed areas, and we even left a flat space for the stamp.
FIN / Perforated Stationery / 01.01.2005
Commended in the Design Institute of Australia’s Queensland Design Awards.
With a fine tradition of print excellence and a wall full of awards already in the bag, this print manager needed a flexible, dynamic identity that could showcase the level of detail and service they had become notorious for… while still showing off a tad.
Fine Print‘s original reverse ‘F’ was reinterpreted and has since become the essence of the identity – everchanging, subtle and adaptable.
Each application of the identity utilises a different production process with the ‘F’ always present though not directly obvious.
TLD / Font Stencil 1999 / 01.01.2005
This typeface was brought about by the inconsistency in original stencil based systems where open letters (C and E, etc.) were left free of support. Built from a square and a quarter of a doughnut, it delivers an overall order to the stencil alphabet.
© Dan Pike.
TLD / Font Slabamond 2002 / 01.01.2005
This font was created alongside the Victoria Bridge project as a fusion between the classical serif of yesteryear and the slab serif grunt of construction.
Based on Adobe Garamond, each letter’s serif was manipulated to create a more structured face that would portray the historical construction of one of Australia’s six swing bridges.
© Dan Pike.
TLD / Font FourFive 2001 / 01.01.2005
Just in case we pull out a new spaceship design for our post 2001 special, this typeface will be prepped and ready for ultra atmospheric decals and orbital hooning. There’s no reason for 45˚ lines, they just look techy.
© Dan Pike.
