I released the fonts about a year later as Proxima Sans. I showed it to the other people I was working with and they thought so, too. It felt a little weird using my unfinished type design for the project, but it seemed to work.
It was plain (like News Gothic) and also a bit geometric (like Avant Garde). I had tried some different fonts for the Star Wars packaging, including ITC Avant Garde Gothic and News Gothic, but nothing looked quite like what I wanted. The “stills” of, say, an X-wing fighter flying over the Death Star only existed as crudely retouched photos.īack then I was also working an early version of Proxima Nova, which at the time I was calling Visigothic. The complex visual effects only existed in the film, not in the publicity shots, which were taken on the set for the most part. (My flight was delayed, so I missed out on having lunch in the same room as George Lucas.) Considering the rich visual imagery of Star Wars, it was surprising how little suitable photography they had for us to use. While working on the project, I was flown out to Skywalker Ranch near San Rafael, California, home of Lucasfilm, to rifle through file drawers of 35mm slides for possible use on the packaging. It was one of the most elaborate packaging projects I ever worked on, with complicated die cutting and holographic foil embossing on the cover. One of the most interesting titles I got to work on was Star Wars: The Original Radio Drama, which had been broadcast on National Public Radio in the early eighties and was being released for the first time on audio cassette. Part of that job was to design packaging for a division of the company called HighBridge Audio. First Public Use of What Became Proxima Nova March 29th, 2013īack in 1993, I had just started a job at Rivertown Trading Company as a graphic designer.
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