2 Phil Lane
Fortitude
Valley, 4006
Brisbane, QLD.
Find us on
Google Maps.
PO Box 1100
Fortitude
Valley, 4006
QLD, Australia.
+61 7 3161 9993
or Letters(at)
TheLetterD.com.au
This typeface was inspired by the work of two great Bauhaus movers, Theo van Doesburg (1883–1938) and Theo Ballmer (1902–1965) both of whom created an alphabet based on a basic 5×5 grid system. This is the 9×5 version for those of us who don’t get to work that early.
Now available on FontStruct. © Dan Pike.
After moving to a house on its own block, a party was in order and with it, a new typeface was developed to direct people around the new pad.
Now available on FontStruct. © Dan Pike.
An identity concept for The Balfour. Taking our cue from the architecture, a symbol framework was built to extend across room numbers and pictograms. It has since become part of a hotel group so may not go ahead.
Developed for the Camp Lake Fire project, where a single stroke, monospaced font was required to suit the four letter word identity suite, set in vertically aligned columns.
The single stroke design allows for camp signage to be produced on-site out of raw materials (plywood, etc) using a single pass router bit, hence the name.
© Dan Pike.
Churchie’s old school camp was being redeveloped and The Letter D was asked to develop a concept for its new face, including the name, identity, and ongoing collateral.
As the intended use was going to be recreational camping a series of family-friendly four letter words were outlined that embodied the spirit of the place. This idea became the over-arching identity for the place, with Camp Lake Fire coming out front as the name.
A routable typeface was developed for the identity, with future signage applications in mind, allowing signage to be produced on-site.
A conceptual project for a Singaporean advertising agency, looking to develop a custom typeface for one of their clients.
The Letter D worked with Underware to put together an initial direction, which unfortunately never progressed.
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.
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.
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.
