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Zebramatic

Zebramatic

by Harald Geisler
Individual Styles from $99,999.00 USD
Complete family of 3 fonts: $99,999.00 USD
Zebramatic Font Poster 1 Zebramatic Font Poster 2 Zebramatic Font Poster 3 Zebramatic Font Poster 4 Zebramatic Font Poster 5 Zebramatic Font Poster 6 Zebramatic Font Poster 7 Zebramatic Font Poster 8 Zebramatic Font Poster 9 Zebramatic Font Poster 10 Zebramatic Font Poster 11
Zebramatic Font Family was designed by Harald Geisler and published by Harald Geisler. Zebramatic contains 3 styles and family package options.

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Zebramatic Complete Family

 3 fonts

Best Value!

Per Style:

$33,333.00 USD

Pack of 3 styles:

$99,999.00 USD

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About Zebramatic Font Family

Zebramatic - A Lettering Safari Zebramatic is a font for editorial design use, to create headlines and titles in eye-catching stripes. Constructed to offer flexible and a variety of graphical possibilities, Zebramatic type is easy to use. The font is offered in three styles: POW, SLAM and WHAM. These styles work both as ready-made fonts and as patterns to create unique, individualized type. The font design’s full potential is unleashed by layering glyphs from two or all three styles in different colors or shades. Working with the different styles I was reminded of the late Jackson Pollock poured paintings—in particular the documentation of his painting process by Hanz Namuth and Paul Falkernburg in the film Jackson Pollock 51. In Pollock’s pictures the complex allure arises from how he layered the poured and dripped paint onto the canvas. Similar joyful experience and exciting results emerge by layering the different styles of Zebramatic type. Texture In the heart of the Design is Zebramatics unique texture. It is based on an analog distorted stripe pattern. The distortion is applied to a grade that makes the pattern complex but still consistent and legible. You can view some of the initial stripe patterns in the background of examples in the Gallery. Zebramatic POW, SLAM and WHAM each offer a distinct pallet of stripes—a unique zebra hide. POW and WHAM use different distortions of the same line width. SLAM is cut from a wider pattern with thicker stripes. The letter cut and kerning is consistent throughout styles. Design Concept Attention-grabbing textured or weathered fonts are ideal for headlines, ads, magazines and posters. In these situations rugged individuality, letter flow, and outline features are magnified and exposed. Textured fonts also immediately raise the design questions of how to create alignment across a word and deal with repeated letters. Zebramatic was conceived as an especially flexible font, one that could be used conveniently in a single style or by superimposing, interchanging and layering styles to create a unique type. The different styles are completely interchangeable (identical metrics and kerning). This architecture gives the typographer the freedom to decide which form or forms fit best to the specific project. Alignment and repetition were special concerns in the design process. The striped patterns in Zebramatic are carefully conceived to align horizontally but not to match. Matching patterns would create strong letter-pairs that would “stick out” of the word. For example, take the problematic word “stuff”. If Zebramatic aligned alphabetically, the texture of S T and U would align perfectly. The repeated F is also a problem. Imagine a headline that says »LOOK HERE«. If the letters OO and EE have copied »unique« glyphs - the headline suggests mass production, perhaps even that the designer does not care. Some OpenType features can work automatically around such disenchanting situations by accessing different glyphs from the extended glyph-table. However these automations are also repeated; the generated solutions become patterns themselves. Flip and stack To master the situation described above, Zebramatic offers a different programmatic practice. To eliminate alphabetic alignment, the letters in Zebramatic are developed individually. To avoid repetition, the designer can flip between the three styles (POW, SLAM, WHAM) providing three choices per glyph. Stacking layers in different sequences provides theoretical 27 (3*3*3) unique letterforms. A last variable to play with is color (i.e. red, blue, black). Images illustrating the layering potential of Zebramatic are provided in the Gallery. The design is robust and convenient. The font is easily operated through the main font panel (vs. the hidden sub-sub-menu for OpenType related features). The process of accessing different glyphs is also applicable in programs that do not support OpenType extensively (i.e. Word or older Versions of Illustrator). International Specs Zebramatic is ready for your international typographic safari. The font contains an international character set and additional symbols – useful in editorial and graphic design. The font comes in OpenType PostScript flavored and TrueType Format.

Designers: Harald Geisler

Publisher: Harald Geisler

Foundry: Harald Geisler

Design Owner: Harald Geisler

MyFonts debut: Jun 11, 2010

Zebramatic

About Harald Geisler

Harald Geisler Foundry is the creative atelier of typographic artist Harald Geisler, located in Frankfurt am Main, Germany. Geisler is renowned for his innovative and conceptual approach to typography, blending art, history, and personal storytelling to create unique typefaces that challenge the boundaries of conventional design.\n \n••••••Geisler’s work gained international recognition in 2010 with the release of the foundry’s first typeface, Ciseaux Matisse. This font was inspired by an exhibition of Henri Matisse’s technique of “drawing with scissors,” capturing the fluidity and movement of Matisse’s paper cut-outs.••••••One of Geisler’s most notable projects is the Sigmund Freud Typeface, developed in collaboration with the Freud Museum in London and the Sigmund Freud Museum in Vienna. This typeface meticulously transforms Freud’s handwritten letters into a digital font, offering users an intimate connection to the iconic psychoanalyst’s handwriting style.••••••Geisler’s Conspired Lovers typeface is another example of his unique approach to type design. Drawing inspiration from his own love letters, this font captures the emotional intensity and spontaneity of handwritten correspondence, making each character feel personal and heartfelt.••••••In 2013, Geisler embarked on an ambitious project to recreate Albert Einstein's handwriting digitally. He developed the Albert Einstein Font through a successful Kickstarter campaign, bringing the physicist’s distinctive penmanship into the digital age. The project, supported by over 2,500 backers, demonstrates Geisler’s ability to blend historical significance with contemporary digital tools.••••••Currently, Geisler is reviewing his font collection on display at MyFonts, continually refining and expanding his offerings. To stay updated on his latest developments, you can follow his work by signing up for his newsletter on his website: www.haraldgeisler.com, and www.handwriting.digital.••••••Geisler’s typefaces have been widely recognized and featured in international publications, including The Wall Street Journal, The Huffington Post, Fast Company, Design Taxi, Novum, and Page. His commitment to innovative design and storytelling through typography continues to significantly impact the field, earning him a reputation as a leading typographic artist.

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