Snake Script
Snake Display
Snake Sans
Snake Script
Snake Display
Snake Sans
Snake Script
Snake Display
Snake Sans
Snake is the result of my will to create my first typeface family. It includes a formal script, a display script and a contrasted grotesque. The first one is a contemporary legible script typeface. It features a lot of strong typographic details and its moderate angle results from a slow drawing process, leading to soft and smooth curves. The display script is freely inspired by the Princess Script’s design, drawn by the Barnhart brothers from Chicago in 1887. Contrasting with the script version, it was drawn in order to have as many sharp and angular strokes as possible. Its fast and aggressive aesthetic comes from its tight angle and a lack of curves. The third one is an additional cut bringing a completely different dimension to the typeface family. It is a highly contrasted grotesque suited for large-size and display use. While both scripts are very flavourful, the sans is an expressive design but in a more functional and versatile way.
Snake is the result of my will to create my first typeface family. It includes a formal script, a display script and a contrasted grotesque. The first one is a contemporary legible script typeface. It features a lot of strong typographic details and its moderate angle results from a slow drawing process, leading to soft and smooth curves. The display script is freely inspired by the Princess Script’s design, drawn by the Barnhart brothers from Chicago in 1887. Contrasting with the script version, it was drawn in order to have as many sharp and angular strokes as possible. Its fast and aggressive aesthetic comes from its tight angle and a lack of curves. The third one is an additional cut bringing a completely different dimension to the typeface family. It is a highly contrasted grotesque suited for large-size and display use. While both scripts are very flavourful, the sans is an expressive design but in a more functional and versatile way.
We see the hype outside
We see the hype outside
We see the hype outside
CONTEXTUAL
ALTERNATES
CONTEXTUAL
ALTERNATES
CONTEXTUAL
ALTERNATES
CONTEXTUAL
ALTERNATES
CONTEXTUAL
ALTERNATES
f f → ff
g f → gf
g j → gj
j j → jj
s f → sf
s t → st
y j → yj
f f → ff
g f → gf
g j → gj
j j → jj
s f → sf
s t → st
y j → yj
f f → ff
g f → gf
g j → gj
j j → jj
s f → sf
s t → st
y j → yj
Quand souffle le vent, s'essouffle le temps
Les gens sont gris et moi j'en ris
Laisse même mes dents prendre le soleil
J'ramène ma fraise là ou c'est triste
Structure, culture en auxiliaire
J'ai l'air de faire des rimes vivantes?
On tourne, on valse loin du ciment
Les grands de ce monde, j'les calcule pas
Alors j'me perds dans le fond de tes yeux
Quand souffle le vent, s'essouffle le temps
Les gens sont gris et moi j'en ris
Laisse même mes dents prendre le soleil
J'ramène ma fraise là ou c'est triste
Structure, culture en auxiliaire
J'ai l'air de faire des rimes vivantes?
On tourne, on valse loin du ciment
Les grands de ce monde, j'les calcule pas
Alors j'me perds dans le fond de tes yeux
Quand souffle le vent, s'essouffle le temps
Les gens sont gris et moi j'en ris
Laisse même mes dents prendre le soleil
J'ramène ma fraise là ou c'est triste
Structure, culture en auxiliaire
J'ai l'air de faire des rimes vivantes?
On tourne, on valse loin du ciment
Les grands de ce monde, j'les calcule pas
Alors j'me perds dans le fond de tes yeux
Quand souffle le vent, s'essouffle le temps
Les gens sont gris et moi j'en ris
Laisse même mes dents prendre le soleil
J'ramène ma fraise là ou c'est triste
Structure, culture en auxiliaire
J'ai l'air de faire des rimes vivantes?
On tourne, on valse loin du ciment
Les grands de ce monde, j'les calcule pas
Alors j'me perds dans le fond de tes yeux
Quand souffle le vent, s'essouffle le temps
Les gens sont gris et moi j'en ris
Laisse même mes dents prendre le soleil
J'ramène ma fraise là ou c'est triste
Structure, culture en auxiliaire
J'ai l'air de faire des rimes vivantes?
On tourne, on valse loin du ciment
Les grands de ce monde, j'les calcule pas
Alors j'me perds dans le fond de tes yeux
CASE
SENSITIVE
CASE
SENSITIVE
CASE
SENSITIVE
CASE
SENSITIVE
CASE
SENSITIVE
¿h? → ¿H?
¡h! → ¡H!
h-h → H-H
[h] → [H]
(h) → (H)
•h -> •H
“h” ->“H”
«h» ->«H»
¿h? → ¿H?
¡h! → ¡H!
h-h → H-H
[h] → [H]
(h) → (H)
•h -> •H
“h” ->“H”
«h» ->«H»
¿h? → ¿H?
¡h! → ¡H!
h-h → H-H
[h] → [H]
(h) → (H)
•h -> •H
“h” ->“H”
«h» ->«H»
¿h? → ¿H?
¡h! → ¡H!
h-h → H-H
[h] → [H]
(h) → (H)
•h -> •H
“h” ->“H”
«h» ->«H»
They never leave
They never leave
They never leave
They never leave
They never leave
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ñ Ò Ó Ô Õ Ö Œ Ù Ú Û Ü Š Ý Ÿ Ž à á â ã ä å æ ç è é ê ë ì í î ï ñ ò ó ô õ ö œ ú û ü š ý ÿ ž ı • & £ € $ ¢ % ? ! ¡ # @ « ‹ › » ’ * + × ÷ = / \ < > [ ] { } ( ) − – — _ ‘ ’ ‚ “ ” „ . . . , - . : ; ˆ ˇ ̇ ̊ ` ̈ | ¦
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ñ Ò Ó Ô Õ Ö Œ Ù Ú Û Ü Š Ý Ÿ Ž à á â ã ä å æ ç è é ê ë ì í î ï ñ ò ó ô õ ö œ ú û ü š ý ÿ ž ı • & £ € $ ¢ % ? ! ¡ # @ « ‹ › » ’ * + × ÷ = / \ < > [ ] { } ( ) − – — _ ‘ ’ ‚ “ ” „ . . . , - . : ; ˆ ˇ ̇ ̊ ` ̈ | ¦
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ñ Ò Ó Ô Õ Ö Œ Ù Ú Û Ü Š Ý Ÿ Ž à á â ã ä å æ ç è é ê ë ì í î ï ñ ò ó ô õ ö œ ú û ü š ý ÿ ž ı • & £ € $ ¢ % ? ! ¡ # @ « ‹ › » ’ * + × ÷ = / \ < > [ ] { } ( ) − – — _ ‘ ’ ‚ “ ” „ . . . , - . : ; ˆ ˇ ̇ ̊ ` ̈ | ¦
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ñ Ò Ó Ô Õ Ö Œ Ù Ú Û Ü Š Ý Ÿ Ž à á â ã ä å æ ç è é ê ë ì í î ï ñ ò ó ô õ ö œ ú û ü š ý ÿ ž ı • & £ € $ ¢ % ? ! ¡ # @ « ‹ › » ’ * + × ÷ = / \ < > [ ] { } ( ) − – — _ ‘ ’ ‚ “ ” „ . . . , - . : ; ˆ ˇ ̇ ̊ ` ̈ | ¦
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ñ Ò Ó Ô Õ Ö Œ Ù Ú Û Ü Š Ý Ÿ Ž à á â ã ä å æ ç è é ê ë ì í î ï ñ ò ó ô õ ö œ ú û ü š ý ÿ ž ı • & £ € $ ¢ % ? ! ¡ # @ « ‹ › » ’ * + × ÷ = / \ < > [ ] { } ( ) − – — _ ‘ ’ ‚ “ ” „ . . . , - . : ; ˆ ˇ ̇ ̊ ` ̈ | ¦
I like this one. One dog goes one way, the other dog goes the other way.
I like this one. One dog goes one way, the other dog goes the other way.
I like this one. One dog goes one way, the other dog goes the other way.
I like this one. One dog goes one way, the other dog goes the other way.
There weren't any arguments or curses like in the movies. See, your murderers come with smiles, they come as your friends, the people who've cared for you all of your life.
There weren't any arguments or curses like in the movies. See, your murderers come with smiles, they come as your friends, the people who've cared for you all of your life.
There weren't any arguments or curses like in the movies. See, your murderers come with smiles, they come as your friends, the people who've cared for you all of your life.
There weren't any arguments or curses like in the movies. See, your murderers come with smiles, they come as your friends, the people who've cared for you all of your life.
There weren't any arguments or curses like in the movies. See, your murderers come with smiles, they come as your friends, the people who've cared for you all of your life.
Let's go
Let's go
Let's go
Let's go
Let's go
We keep
the team
on high
We keep
the team
on high
We keep
the team
on high
We keep
the team
on high
We keep
the team
on high
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ñ Ò Ó Ô Õ Ö Œ Ù Ú Û Ü Š Ý Ÿ Ž à á â ã ä å æ ç è é ê ë ì í î ï ñ ò ó ô õ ö œ ú û ü š ý ÿ ı • & € ¢ ? ! ¡ # @ « ‹ › » ’ * + = / \ [ ] ( ) − – — _ ‘ ’ ‚ “ ” „ . . . , - . : ; ˆ ˇ ̇ ̊ ` ̈ |
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ñ Ò Ó Ô Õ Ö Œ Ù Ú Û Ü Š Ý Ÿ Ž à á â ã ä å æ ç è é ê ë ì í î ï ñ ò ó ô õ ö œ ú û ü š ý ÿ ı • & € ¢ ? ! ¡ # @ « ‹ › » ’ * + = / \ [ ] ( ) − – — _ ‘ ’ ‚ “ ” „ . . . , - . : ; ˆ ˇ ̇ ̊ ` ̈ |
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ñ Ò Ó Ô Õ Ö Œ Ù Ú Û Ü Š Ý Ÿ Ž à á â ã ä å æ ç è é ê ë ì í î ï ñ ò ó ô õ ö œ ú û ü š ý ÿ ı • & € ¢ ? ! ¡ # @ « ‹ › » ’ * + = / \ [ ] ( ) − – — _ ‘ ’ ‚ “ ” „ . . . , - . : ; ˆ ˇ ̇ ̊ ` ̈ |
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ñ Ò Ó Ô Õ Ö Œ Ù Ú Û Ü Š Ý Ÿ Ž à á â ã ä å æ ç è é ê ë ì í î ï ñ ò ó ô õ ö œ ú û ü š ý ÿ ı • & € ¢ ? ! ¡ # @ « ‹ › » ’ * + × ÷ = / \[ ] ( ) − – — _ ‘ ’ ‚ “ ” „ . . . , - . : ; ˆ ˇ ̇ ̊ ` ̈ | ¦
Light
“No, muy fácil,” leaving to grab his signature silver ax. He returns, but Schrader shoots Marco point-blank in the head. In real life, Luis has been shot before, which he recalled to aid his acting.
Regular
“No, muy fácil,” leaving to grab his signature silver ax. He returns, but Schrader shoots Marco point-blank in the head. In real life, Luis has been shot before, which he recalled to aid his acting.
Medium
“No, muy fácil,” leaving to grab his signature silver ax. He returns, but Schrader shoots Marco point-blank in the head. In real life, Luis has been shot before, which he recalled to aid his acting.
Semi Bold
“No, muy fácil,” leaving to grab his signature silver ax. He returns, but Schrader shoots Marco point-blank in the head. In real life, Luis has been shot before, which he recalled to aid his acting.
Bold
“No, muy fácil,” leaving to grab his signature silver ax. He returns, but Schrader shoots Marco point-blank in the head. In real life, Luis has been shot before, which he recalled to aid his acting.
Black
“No, muy fácil,” leaving to grab his signature silver ax. He returns, but Schrader shoots Marco point-blank in the head. In real life, Luis has been shot before, which he recalled to aid his acting.
You know, we always called each other goodfellas. Like you’d say to somebody: ‘You’re gonna like this guy, he’s all right. He’s a goodfella. He’s one of us.’ You understand? We were goodfellas, wiseguys.
You know, we always called each other goodfellas. Like you’d say to somebody: ‘You’re gonna like this guy, he’s all right. He’s a goodfella. He’s one of us.’ You understand? We were goodfellas, wiseguys.
You know, we always called each other goodfellas. Like you’d say to somebody: ‘You’re gonna like this guy, he’s all right. He’s a goodfella. He’s one of us.’ You understand? We were goodfellas, wiseguys.
You know, we always called each other goodfellas. Like you’d say to somebody: ‘You’re gonna like this guy, he’s all right. He’s a goodfella. He’s one of us.’ You understand? We were goodfellas, wiseguys.
You know, we always called each other goodfellas. Like you’d say to somebody: ‘You’re gonna like this guy, he’s all right. He’s a goodfella. He’s one of us.’ You understand? We were goodfellas, wiseguys.
If you’re part of a crew, nobody ever tells you that they’re going to kill you. It doesn’t happen that way. There aren’t any arguments or curses like in the movies.See, your murderers come with smiles. They come as your friends, the people who have cared for you all of your life, and they always seem to come at a time when you’re at your weakest and most in need of their help.
If you’re part of a crew, nobody ever tells you that they’re going to kill you. It doesn’t happen that way. There aren’t any arguments or curses like in the movies.See, your murderers come with smiles. They come as your friends, the people who have cared for you all of your life, and they always seem to come at a time when you’re at your weakest and most in need of their help.
If you’re part of a crew, nobody ever tells you that they’re going to kill you. It doesn’t happen that way. There aren’t any arguments or curses like in the movies.See, your murderers come with smiles. They come as your friends, the people who have cared for you all of your life, and they always seem to come at a time when you’re at your weakest and most in need of their help.
If you’re part of a crew, nobody ever tells you that they’re going to kill you. It doesn’t happen that way. There aren’t any arguments or curses like in the movies.See, your murderers come with smiles. They come as your friends, the people who have cared for you all of your life, and they always seem to come at a time when you’re at your weakest and most in need of their help.
If you’re part of a crew, nobody ever tells you that they’re going to kill you. It doesn’t happen that way. There aren’t any arguments or curses like in the movies.See, your murderers come with smiles. They come as your friends, the people who have cared for you all of your life, and they always seem to come at a time when you’re at your weakest and most in need of their help.
Tommy DeVito
Tommy DeVito
Tommy DeVito
Tommy DeVito
Snake Script
Snake Display
Snake Display with alternate Initials
Snake Sans Light
Snake Sans Regular
Snake Sans Medium
Snake Sans Semi Bold
Snake Sans Bold
Snake Sans Black
Snake Family is Arthur Schwarz's diploma project realised over the Master of Type Design at ÉCAL in 2020.
Art direction, typeface design & web design
Arthur Schwarz
Motion design
Trente Octobre Studio
Photography
David Clode, Jesper Aggergaard & Tirza van Dijk
Snake Family is Arthur Schwarz's diploma project realised over the Master of Type Design at ÉCAL in 2020.
Art direction, typeface design & web design
Arthur Schwarz
Motion design
Trente Octobre Studio
Photography
David Clode, Jesper Aggergaard & Tirza van Dijk
Snake Family is Arthur Schwarz's diploma project realised over the Master of Type Design at ÉCAL in 2020.
Art direction, typeface design & web design
Arthur Schwarz
Motion design
Trente Octobre Studio
Photography
David Clode, Jesper Aggergaard & Tirza van Dijk
Projects
LacLacLogo
VOIDTypeface
CPCMLogo
StarksLogo
R24Logo
LÀCLogo
SplitterTypeface
Say no to latte artPoster
WeltformatPoster
contact@arthurschwarz.ch · Behance · Instagram · Linkedin · © 2021 Arthur Schwarz
contact@arthurschwarz.ch
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© 2021 Arthur Schwarz