Golden Gate is born from fonts


What do you do when you have too many letters in too many styles? You print them in templates of buildings, of course. Or, at least, one of us does.

The roman Colosseum , Brooklyn Bridge or Salt Lake. Strong in bold or suave in italic, delicate and vulnerable like in those calligraphy sketchbooks. The letters designed by Cameron Moll in hundreds of rows – repeated or not – and directions, it reveals to us in well-known architectural shapes. Placed letter by letter, the tiny characters don’t come to life on paper and neither by color but by their exact andthoroughly shape. The artist needed 250 hours to create the base structures of those weird fonts and symbols.
Don’t you think that there is an obsessive-compulsive man that drew those shapes letter by letter. Its letters assume 70-80% positioning, sizing and rotating one by one, manually. The rest is Adobe Illustrator and, our generation’s favorite, copy-paste. His fonts give birth to reinterpretations of amazing structures. And, probably like so many fall in love with the Brooklyn Bridge, the New York’s binder, Cameron, obsessed with details, began his typographic journey visiting the bridge, taking pictures and reading with passion its history of 562 pages alongside with the typographic styles research from 1869-1883. The result is the story written in those historic fonts that recreate the classical images of some undying constructions.
Foto: The names of the ones that died during the bridge construction are hidden in the creation: example – Burns, Donahue and Johnston


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