When I developed Lust, it was my overly indulgent attempt to infuse wanton sensuality in a typeface. I wanted to create something that was over the top and veered away from my loose ‘sushi’ scripts and rigid sans serifs. To do that, it had to be, well, a little sexy. For me. the solution was to create a curvy serif. A serif would be a different endeavor for me since I consciously choose not to do many serifs—because there are so many wonderful options already. Because of this, my approach (and design) had to be different. Here’s how I broke down what I felt it needed to have under the covers to create a ‘lusty’ typeface: Lots of contrast, almost demure, coy contrast mixed with the flowing curves of a woman’s body, incomplete, almost teasing ball terminals, and serifs that went on forever… so sharp they would draw blood if you touched them. Well, mission accomplished. But, while I was finishing Lust, the idea of taking it further, making it, well, sexier took hold. The end result is just more… more experience, more curves, more of everything. It looks good dressed down or in a little black dress. Lust Script plays well with others too… it works beautifully within the Lust Series styles and with the new Lust Slim.
When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.
Young, playful, loopy, flirty. Flirt Script® carves out a niche for itself by concentrating on natural writing tendencies and not the simplified mechanics of script-to-font type design. A free-flowing monoline, the two weight typeface exploits the common letter-to-letter transitions of the typical cursive hand by utilizing three variable-height strike points controlled within the machinations of OpenType Contextual Alternates. The ease of writing (and the decisions made from letter to letter) is reflected as the structure and cadence of the writing evolves as the user types.