My name is Miklós Ferencz. I’m a graphic designer turned typographer. I’m the sort of person who when ‘puts pen to paper’ draws letters instead of writing words.
Typography and book design are what truly float my boat, but I’m always on the prowl for exciting web design ideas and new experimental mediums. I also have a slew of experiences under my belt that attest to my perennial love for learning and discovery. If you’d like to know more about me, here’s a quick rundown:
I did typographic research at the Atelier National de Recherche Typographique (ANRT), Nancy, France; I earned my Master of Arts degree in Graphic Design at Moholy-Nagy University of Arts and Design, Budapest (MOME); I studied graphic design for a year at Haute École des Arts du Rhin, Strasbourg (HEAR), at the graduate level; and I spent a year in St. Joost University, Breda, doing experimental design and studying conceptual graphic design.
I diligently toiled as an art-director and a full time graphic designer in Budapest for a while, but I also worked as a freelance graphic designer taking on a spade of exciting projects. I’ve done work for the European Parliament in Brussels, the Central Theater and Metro4 in Budapest, the Shearsman Books, University College London and Boiler House Press in the UK, Blue Pearl Stone in Chicago, Illinois. My work entailed custom typefaces, visual identities, posters, pamphlets, websites, books and a multitude of other stints. I’m also a typography lecturer at Moholy-Nagy University of Art and Design, Budapest.
For more granular details, see my CV in English, French or Magyarul.
Based on the work of the Constantin widows – whose foundry operated in Nancy, France, during the 19th century – I designed this didone style bold typeface. (Caractères de la fonderie de veuve Constantin ainé et Constantin jeune, à Nancy, Meurthe.)
My work offers an interpretation on the original typeface design, and the first sketches were specifically based on the “gros canon” body size letters. In this design, the thick and thin lines are highly contrasted, the stroke terminals end in a round form, and sharp cuts evoke a contemporary feel.
This typeface was originally designed with displays in mind, such as posters. In order to make it applicable to shorter texts and highlights, it was later modified so as to function as a bold weight and heavily contrasted body typeface. The addition of a variety of weights, such as thin, regular, and bold, is still to come.
Kolonel is a Dutch oldstyle typeface, based on the letters of Nicholas Kis (Tótfalusi Kis Miklós). Kolonel is based on the 7 pt (colonel) text size which the famous bible of Nicholas Kis is printed in (1685, Amsterdam).
This typeface is also an experiment and was my research project at ANRT. The project endeavours to find a way to bring back the lively feeling of the letter press printed text to the digital medium. I was experimenting with creating different alterations of each letter, based on real inking problems, which I founded on Kis’s bible.
Even though I used sophisticated programming technics and variables for the shapes, I didn’t do it with the intention to achieve some kind of progress, but quite the opposite, my aim was to resuscitate something that has been lost in (printed) texts since the disappearance of analog printing techniques.
Mozsár is a café and restaurant with a slightly bohemian and a slightly constructivist atmosphere in the city center of Budapest.
I was asked to design panels on the façade of Mozsár. I decided to create a font which tries to reflect the atmosphere of Mozsár. My other aim was to have fun and raise a feeling for freedom designing these shapes. Also, I was curious whether it was possible to create a unified and coherent brand image using letters only. Mozsár is a custom display font. Every letter has an uppercase and a lowercase version. The characters are based on geometrical shapes.j
This is a unicase display typeface with a nod to the constructivist spirit. Tongue-in-cheek by design, it uses pure geometric shapes while departing from strict typographical rules. It was not designed to display blocks of text given that it is quite tiring to read.
The central idea behind this typeface was experimental in nature, namely that the two variants would randomly mix while text is being typed and the Contextual Alternates are switched on in Adobe Indesign, MS Word, Text Edit, etc. It was intended for display purposes.