I saw that by retaining a softer demeanor, with generous character spacing, Biome would accommodate a wider range of sizes and applications.” He adds, “I looked at mid-20th century modern furniture and architecture, automobile styling and even leaf shapes.” After successive design refinements and blending, the simplified, superelliptical design with a large x-height, squared bowls and soft diagonal terminals emerged.Ī senior type designer at Monotype Imaging, Crossgrove has been obsessed with letters since learning to read at the age of two. He observes, “Some of these faces were drawn within an unbending rectangular grid, others were developed primarily for display sizes, or were based on the ‘Grotesk’ character structure. Crossgrove says, “I wanted to see what resulted from subtracting superellipses from each other.” After Crossgrove had synthesized several abstract concepts and influences, he proceeded to survey futuristic or rectilinear typefaces, including the Eurostile, Neuropol, Rogue Sans, Handel Gothic, and Korataki designs. At the same time, I was sketching a rectangular, vaguely calligraphic sans serif design, on which I made the notation ‘square, futuristic, mechanical.’ The two threads eventually joined in one typeface, incorporating many of these contrasting qualities.”īiome (bi as in binary + ome as in home) grew out of a succession of unrelated typographic experiments. Carl Crossgrove describes his Biome typeface family as “both futuristic and organic, with a sense of calm.” He recalls, “My first sketches showed a globular, amorphous alphabet derived from superellipses.
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