Somewhat pleasantly surprised at how well the majority of characters translate into this impossible MC Escher style, although the ampersand is probably the least appealing, which is shame for ampersand fans.
Impossible Type is not it’s not a font you can buy, or download, as yet. although plenty of comments on Instagram though asking Fleta to change that.
Impossible Type – Concept Font Inspired by MC Escher by Fleta Selmani
About Impossible Type
Impossible Type is a font inspired by Escher’s drawings of impossible objects.
Each letter is an isometric projection, following Esche’s style of constructing impossible shapes.
Other MC Escher Fonts
Twenty years ago I decided to make a font based on his ideas – my own tribute to the artist. With pen and pencil I jotted down a few characters based on his impossible drawings during a family vacation in Portugal. But then I got stuck and left the project. I did revisit the task several times but never got it completed before now. Jonatan has been designing and redesigning characters with me since a few days, and here it is, the font:https://isene.org/2019/12/Escher.html
About M.C. Escher
Maurits Cornelis Escher – (17 June 1898 – 27 March 1972)
Dutch graphic artist who made mathematically inspired woodcuts, lithographs, and mezzotints.
Despite wide popular interest, Escher was for most of his life neglected in the art world, even in his native Netherlands. He was 70 before a retrospective exhibition was held. In the late twentieth century, he became more widely appreciated, and in the twenty-first century he has been celebrated in exhibitions across the world.
His work features mathematical objects and operations including impossible objects, explorations of infinity, reflection, symmetry, perspective, truncated and stellated polyhedra, hyperbolic geometry, and tessellations.
Early in his career, he drew inspiration from nature, making studies of insects, landscapes, and plants such as lichens, all of which he used as details in his artworks. He traveled in Italy and Spain, sketching buildings, townscapes, architecture and the tilings of the Alhambra and the Mezquita of Cordoba, and became steadily more interested in their mathematical structure.
Escher’s art became well known among scientists and mathematicians, and in popular culture, especially after it was featured by Martin Gardner in his April 1966 Mathematical Games column in Scientific American.