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I went to Fontstruct to escape these kinds of fonts and now they have also invaded the last territory they hadn't. SNIFF !
Pleaassse Don't do Arial next, pleaaaaaaaaaaaaase i'm on my knees !
Nice one Gene, nothing like a classic font to try out the new curvaciousness.
@ne: Be afraid ... be very afraid ... coming soon to this Cinema ... The Attack of the Classic Fonts
Sure, this one's nice and all, but until you can recreate Comic Sans MS here, you've still got a long, long way to go, my friend... ;^)
(Neurone Error's head probably just exploded at the thought of THAT particular typeface being FontStructed.)
Statistics tells us that the probability of nothing is zero. Therefore, I submit, it would be awesomer if we could uncreate Comic Sans. Phase-inverted Comic Sans canceling displays, for instance. ;-)
this font is also gifted of optical correction ...
FUTURA your subconscient is to strong.. hope you look to closer to work of Connare
@NE t'es vraiment drole NE ;) mais je partage très bien ton opinion.
nice work no matter what
@neurone error: But I have over 50 versions of Arial that I've worked really hard at, with large colorful samples of each of the individual letters that I need to share.
@p2pnut: Its funny you mention cinema in conjunction with classic fonts. I sometimes watch classic movies in the same way, identifying what storytelling and cinematic techniques stand the test of time. Citizen Kane and Casablanca come to mind with foundational techniques. Classic fonts have a similar appeal. After researching it, I didn't even know Futura came out in 1928.
@goatmeal: I agree, 'Comic Sans - the boldest of them aaalllll!!'
But it does get me a bit closer to Papyrus!
@thalamic: I would very much like to see the existing forms of such technology.
@Upixel: Ah, Vincent.
Each one of my current releases exercises something specifically, whether it is unseen internally or outwardly aesthetic. The original O was a perfectly symmetrical circle, but then the stroke width artifacts that are talked about in this article really stood out while previewing it. After a lot of experimentation, the final rendition became the best visually balanced solution at the selected grid size. The points on the A, V, and W also overshoot to balance adjacent letter forms. The resultant font, whether it looks like Futura or not, remains for me the physical evidence of the visual experimentation that I've set out for myself to explore and discover. Qu'on aime ou qu'on déteste, le choix est vôtre.
That's a great link from typographica. I didn't see that one.
At small sizes and with optical kerning this one prints very impressively (at least on a desktop printer).
Congratulations! FontStruct Staff have deemed your FontStruction worthy of special mention. “Bezziaire” is now a Top Pick.
thk for the reference of Vincent I never heard himself talking about his CS. He more humble about his masterpiece then I thaw :)
with sharp point of course without overshoot AMVW will look too small
"On aime, On aime"
Sorry my vocabulary is not enough strong in english but, I love your A the stroke (not sure of this is the right word) is low just like an Art Deco font but the rest is terribly géométrique ;)
You have all my admiration, great achievement
ps: I'm just about to give you my personal adress so you'll be able to send me all those sample of colored Faux-Arial ;)
how do you make these curves by "D" or "C" and by the other letters? with witch brick can I do this?
wow. what is this magically sufficient x-height to render smooth curves?
Great font! Reminds me of Neutra.
@neurone error: I had no idea you were such a WIMP!!!
@neurone micgio means no harm.
Very, very nice, but needs numbers and a few more symbols.
Packed with dynamic tension, Uptake is an exciting and characterful but also eminently usable sans.
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