I released Edifact on January 30, 2007. Its structure was based on the look of 1960s MICR-inspired typefaces such as Data ’70, Westminster, and Gemini Computer. I began by drawing a clean version in that style, then transformed it into something more chaotic and distressed. The concept was to imagine what a futuristic typeface of the 1960s might look like if it had survived a post-apocalyptic setting.

The distressing process was elaborate. I built a system in Photoshop using multiple tiling bitmap textures made from collaged city photographs—skyscraper windows, crisscrossing power lines, and other urban details. These textures were layered both above and below the letterforms, with macros shifting them in different directions and increments to avoid obvious repetition. The result was a scratchy, mechanical effect that gave the letters the appearance of having been eroded by time and damage.

Edifact was released in a single all-caps style. I added OpenType ligatures so that common pairs would substitute with custom versions, reducing repetition and enhancing the illusion of natural wear. Despite its unusual process and aesthetic, I’ve never seen Edifact used in the wild. It remains one of my more experimental display projects.