David Millhouse | Type Design | david@defalign.com | +44 (0) 7516 605 726













Obiter

The Latin term ‘Obiter dictum’ is a phrase used in courtrooms as a timeless shift, a tangential statement independent of two conflicting oppositions, to broaden and order further analysis in understanding.

The geometric style of Obiter's san-serif character questions the conventional by example of rebellious points in statue illustrated in some glyphs. The elongated ascenders and descenders of Obiter are unrestricted in length and are often assisted with curved spurs as well as terminals which imitate embossed linocut markings. Result in use for writing with Obiter gives evidence by composure and permanence.







Domination, desistance and recovery. Everything is open to suggestion, Obiter is powerless yet persuasive. Its Stoic attitude aims to appeal between legible and illegible without comparison.











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£100 | €120 | $165 | ¥17,000








CURRENCY

Capturing a spirit of inclusivity through validation of art or design regardless of critique, CURRENCY aims to levitate theory, poetry and literature beyond journalism to broaden discussion.







CURRENCY refers to a diverse range of imagery surrounding pop, neo-digital and cultural debris, it invites sophisticated conversation. The magazine channels a conscious non-conformity, to explore and challenge the constraints of formal publishing, positioning itself between main-stream printed-matter and luxury object.







Founder, art-director and editor-at-large for CURRENCY is Sico Carlier. The upcoming issue CURRENCY 5 will be typeset in bespoke fonts by David Millhouse.







From issue 1 onwards CURRENCY has been sold at locations such as Colette and Palais de Tokyo in Paris, ICA and Magma in London, MoCA Los Angeles, MoMA and St. Mark’s Bookshop in New York City. http://currency.sicocarlier.com











Solit

A stationary idea of the incomplete where beginnings cease to question finality. Solit is a type family of five styles which classify as body fonts.







In 2011 David Millhouse shot a series of analogue photographs depicting unfinished constructions of dwellings situated on the Greek island of Tilos. The ideas behind the Solit typeface developed from these images, starting with the design of Greek glyphs.





Solit's tall and slender framework calculates its dimension which is balanced on accurate clarity for readability. Similarities to the architectural steel grids of the Tilos builds and inspired by the ingredients the island has to offer; grey volcanic pumice, sun blasted purity, thyme and silence all express a near gesture that Solit transcribes as texture — text covering page.












Sentier des Pensards

A collaborative work by David Millhouse and artist Sico Carlier elaborating on the possibilities of the typeface Solit. By experimenting with page scanning, speed reading and numerical sequences they question word superiority effects with cognitive psychology. They hereby address the growing underlying reticence in the so-called information-culture that surrounds us, towards reading full volumes, and from A to Z.

The work in question; Sentier des Pensards (2013) is a graphic evocation conceived by processing the inherited library of a Dutch poet, the late Leyn Leynse. The work intertwines 200 individually numbered book titles selected from the mass of volumes found in his archives in Paris. The overall editing process aims to question or disrupt the hierarchical qualities of headings and titles.







For Poetry International Rotterdam the film was presented in an exhibition situation at Gallery Frank Taal. This revealed in greater detail the dynamics and functionality of the typeface, by experimenting with rhythm in reading. The effect resulted in discourse around the cognitive psychological processes in hierarchical letter recognition. What stands out in the use of Solit for the film-work are the horizontal shapes in the letters, the combination, as if the pattern creates a language composition similar to that of Morse code. Each title is numbered which brings a connection with binary to the apparent; each number begins with either a one or a zero and is systematically pitch-class set with an undertone.













The intention of Defalign is to withstand the threat of todays self inflicting conventions and resist the orderly fashion of the driven conscience. To explore timeless themes that affect the existential alignment within an environment by offering a stylised impression in design for type.