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Dubwise PRO contains of both the Western Latin and Central European Character Sets.
Jancso who always liked to build, carve wood, and draw since childhood, has grown up to be a real type addict and devotes his time to meticulously drawing and designing letters.
"I'm a freelance designer dealing with graphic and type design. I like to play and experiment, a bit like an explorer or scientist in the visual world. Letters are close to my heart, so most of my time is spent on calligraphy, lettering and various type related projects. I'm fascinated by visual languages of the cultures of the world and their writing systems and how these can be mixed with modern and clean styles."
More fonts by Aron Jancso
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No, just a few letters for the title. I later designed a few more for another title, but this concept rested for a long time until I decided to make it a real font.
Dubwise plays with the similar ground shapes that Ogaki also uses. Do they have any relation to each other? And if yes, which one was born first?
Yes, definitely. Dubwise’s letterforms are older. Both fonts are based with the intention of making a super heavy character in a geometric style. Ogaki is for very large sizes with decorative details; Dubwise works well in smaller sizes and has a stronger feel.
Your last two releases in our foundry, Ogaki and Sensaway, was heavily influenced by your graffiti skills. Dubwise seems more digitally constructed and appears to more rigorously follow the rules of temporary graphic design. Why, then, Dubwise feel a bit colder?
Well, Dubwise has a simpler and more solid character. It was designed to fit the raw and bass heavy electronic music. I wanted a simple but solid design, so there was no room for the delicate details that Ogaki and Sensaway possess.
There's few of these kind of blocky fonts out there, but Dubwise plays with the contrast of blocky on one end and tiny strokes on the other. Where did you get the idea to mix these different shapes?
I like to use high contrasts, because this almost surely results in an interesting visual. Also I wanted to make it readable, the characters are a little inflated, counters are gone, and lots of other negative spaces are filled too, but the outline makes it legible. So the rhythm of the narrow and wide shapes is just the result of the logic the glyphs were designed with.
Do you think there is an ideal usage for Dubwise? And if you could, would you recommend Dubwise instead of Ogaki for a particular or certain application?
Yes: Dubstep, drum and bass, break dancing, hip hop and similar electronic or bass-heavy, music-related graphics like flyers, logos, cover artworks. Or I can imagine it for heavyweight sports like basketball, hockey, and so on. Ogaki is delicate and looks good in magazines, the fashion world and experimental projects. Dubwise is more practical, simpler, and more solid.
What’s your next plan for your next font project? Do you have any new releases we can expect from you in our foundry?
Sure, there are two serious font projects going on at this time. You can see the development of one on my Flickr stream. This is going to be a very experimental display font based on simple geometry and musicality. Can’t tell you much about the other but that’s going to be a text face with display capabilities as well.
Lastly, a question that's a little more private: what does your ideal work day look like? Do you work more in the day or are you a night creature? Do you need utter silence, or can you work during a rambunctious football game...
I work at night mostly but have no real bio rhythm; sometimes my 168-hour-week is made up of six longer days than usual. I need peace to work, and it's best when everyone else is sleeping. So the ideal schedule is to wake up in the afternoon, go out with my friends and come home at midnight and work till eight in the morning or so. I like working at night because there is no light, there is silence (I listen to music), no phone calls, nothing distracting, so I can concentrate fully on my work.