Bryan Font

John Bryan Hicks (1932–2021) was an architect, photographer, railway enthusiast and most importantly my Dad.

In his memory, I created Bryan as a single-weight open type font, a faithful digital recreation of his distinctive handwriting. Growing up I was subconsciously inspired by the different aspects of design that he introduced to me, from mid-century vinyl record covers to architecture and signage. In particular, his distinctive architect's handwriting was very evocative to me, and I decided I should try and capture it as a font.

A handwritten piece or cardboard detailing instructions on how to remove the model railway layout, even detailing where screws are
Instructions that dad left us (A, D & J) on how to save the garden model railway layout. As with everything he did, it's dated (Bryan Hicks, 17th January 2000)

My dad was a passionate railway photographer, and we were surrounded by boxes upon boxes of 35mm and medium format slides. Each photograph was meticulously recorded with date, location and even specifics such as aperture and shutter speed (information that's now recorded automatically as EXIF data). This offered a lot of examples to base the font on, but it varied over the years, particularly with the effect of Parkinsons in the last 15 years. I found a particularly good example from the 1990's where he was documenting a slideshow of Class 50 locomotives. I scanned these using the iOS Notes app built-in document scanner.

This gave me an ideal starting point of an almost complete set of latin characters and numerals, all written in a similar size and weight. I took photos of these and used the grid template from calligraphr to assemble the characters using Procreate on the iPad.

Calligraphr's character templates were a useful way to gather images of glyphs and size them consistently.

Calligraphr then converted the rough scans into a prototype font. This provided a great starting point, but after I took it into Glyphs 3 app, I ended up redrawing each character and starting again:

The evolution of the letter a, from blurry scan to rough vector version and smooth final version

There were several stylistic choices my dad made in his handwriting that were vital to reproduce in the font. For example, the shape of the lowercase T altered depending on whether it was written cursively or on it's own:

He always offset the dot (apparently this is called the 'tittle'!) in the lowercase I and J to the right:

Then there's the flamboyant leg of the R, curved bottom arm of the E, lowercase cursive Z, tall and elegant sterling symbol and the ampersand just showing the 'e' rather than 'et':

One of the issues with handwriting fonts is that the characters are clearly repeated, but using discretionary ligatures allowed me to vary the glyph shapes a bit:

My dad also used a lot of 'ditto' marks, and this was also something I was keen to capture. I've included three different sizes of these, triggered by typing 2,3 or 4 hyphens:

I've had a focus for getting this font ready, as I wanted to use it on the Order of Service for his funeral. Due to print lead times, it had to be an earlier version that was spaced a bit tight, but it came out well:

The printed order of service for my dad's funeral, showing a range of photos from an eight year old schoolboy to a 66 year old on a narrowboat

You can download the font for free in the Hicks.design shop, but if you use and enjoy it, please consider donating to Parkinsons UK in his memory.

About us

From our studio in Oxfordshire we have worked for a wide variety of lovely clients. You may recognise our identity work on logos for Firefox, Mailchimp and Shopify, as well as emoticons for Skype. Read more about our services or contact us for help with your next project!

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