Typographic Field Studies
Every few weeks, I set aside a morning to make compositions from nothing but type. No content, no message — just the letterform as a unit of space and weight. I call these field studies, borrowing the term from scientific practice: careful observation without predetermined conclusions.
The rules are simple. One typeface. Black ink on white. No more than twenty characters per composition. No digital tools during the making process — only pencil, ruler, and transfer lettering.
The exercise is not about producing beautiful work. It's about learning to see type the way a musician learns to hear intervals — as specific, measurable, and meaningful. The space between a capital H and a lowercase a is not the same as the space between two lowercase letters, and understanding why, physically, requires making the mistake yourself.
After three years, I have notebooks full of these studies. Some are failures. Some are not. I've never shown them publicly before.
