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.

image-snake-3 crop
Title_Section
image_og

We see the hype outside

We see the hype outside

We see the hype outside

image_aa-boa
curviest-in-the-zoo

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 

image_stf-

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»

image_‹GQ›

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  ̇  ̊ `  ̈ | ¦ 

image-snake-7crop2
Title_Section2

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.

image_init-medi-fina-iso

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.

image_off

Let's go

Let's go

Let's go

Let's go

Let's go

minimum-2
image_k

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  ̇  ̊ `  ̈ | ¦ 

david-clode–6f9-eAybjA-unsplash-2
Title_Section3
fangs

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.

image_fly-liga

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

 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 ̇ ̊ ` ̈ | ¦ 

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

WeltformatPoster

DéviationsPhotography