Font

This is the custom display font I developed for Infection, the short film I'm directing described as "Severance meets American Psycho." I built the font to function as a piece of production design rather than a graphic asset, which meant treating it the way I'd treat a costume or a location.

What this captures is the visual identity of a film about corporate control rendered as a typeface. The letterforms are cryptic, slightly off, engineered to feel like something a fictional company would have commissioned to look modern and reassuring while actually being unsettling on a glance. That tension is what the film is about. The font carries the thesis before a frame is shot.

This isn't a glyph set sketched in Illustrator and exported as an image. It's a fully functional font with proper OpenType metrics, kerning tables, hinting, and a complete character set, delivered as TTF and WOFF files ready for any production pipeline. I worked through the build with Claude, iterating on letterform geometry, spacing logic, baseline alignment, and the subtle irregularities that give the font its uneasy quality.|

That collaboration is worth naming directly. AI in filmmaking gets discussed mostly as a threat, and the threats are real. But a director with a clear creative vision using AI to execute a craft skill outside their training, that's a different conversation. The font is my design. The decisions are mine. Claude was the tool that translated intent into compiled, functional files. The result lives across props, title cards, and the fictional 50-page corporate document I built for the shoot.

For independent filmmakers, the lesson is that AI collaboration can put custom typography, and other specialist crafts, within reach of single-day shoots and student budgets. The audience never has to read it consciously. The world feels true because the letters belong to it.