@p2pnut and will.i.ૐ: Thank you for your comments. It's interesting you like this version so much. It may work very well in combination with the solid black version. It took almost a whole week to complete this font. (In the meantime, I enjoyed two excellent audiobooks: A Morbid Taste for Bones; and Monks Hood by Ellis Peters. I highly recommend to read or listen them if you are fond of medieval stories.)
If you like Cadfael, you might enjoy Michael Jecks' books about Keeper of the King's Peace Sir Baldwin de Furnshill and his friend Bailiff Simon Puttock
To explain a little more of my fascination with Rohan NE 10:
The contrast between these chunky, truncated square prism forms and the hairline defining them is a pristine paradox. There is the delightful impression of both weight and weightlessness.
In conception, the balance of negative and positive space is sublime. The isometric-like 3d projection orients perspective to perfectly align certain points of intersection and unexpected continuous lines which stylize and simplify many glyphs. Clearly you constructed these letters, numbers, and symbols with this in mind (e.g. the lower configuration of the A R and X, though the # is perhaps the most brilliant example). The hairline approach further emphasizes the beauty of the concept you achieved by, again, treating both negative and positive space as “white”.
The construction is a masterful extension of the concept. This family – each member so similar and yet so distinct – requires a considerable amount of dedication and diligence to complete. A week at speed – wow, I believe it! And that’s just the fontstructing slice of the journey. The whole undertaking must have taken quite some sketching and schematizing to figure out how to construct such consummate characters! 8^)
A new, outlined piece of the Rohan family.
5 Comments
The contrast between these chunky, truncated square prism forms and the hairline defining them is a pristine paradox. There is the delightful impression of both weight and weightlessness.
In conception, the balance of negative and positive space is sublime. The isometric-like 3d projection orients perspective to perfectly align certain points of intersection and unexpected continuous lines which stylize and simplify many glyphs. Clearly you constructed these letters, numbers, and symbols with this in mind (e.g. the lower configuration of the A R and X, though the # is perhaps the most brilliant example). The hairline approach further emphasizes the beauty of the concept you achieved by, again, treating both negative and positive space as “white”.
The construction is a masterful extension of the concept. This family – each member so similar and yet so distinct – requires a considerable amount of dedication and diligence to complete. A week at speed – wow, I believe it! And that’s just the fontstructing slice of the journey. The whole undertaking must have taken quite some sketching and schematizing to figure out how to construct such consummate characters! 8^)
Please sign in to comment.