From fontstruct’s worst guest and most notorious sandbagger: Thanks guys always for the appreciation : )

I feared the U&lc would come out hopelessly disparate – stylistically and proportionally – but managed to match up just enough quirky details to create a happily funked-up union. The XXL x-height and jaunty ascenders I just had to learn to love.

And how ’bout that cyclopic Van Gogh dagger(fish)? Too soon? ; )

...and I thought something like this had surely been done here before. If so, I sure couldn't find it now.

But please let give some due credit:

• shasta for the tagger sensibility that qualified my drippy Q and fat-nibbed flair.
• afrojet and funk_king for their Josef Albers and Wim Crouwel riffs and revivals.
• typerider for inspiring me again to do more with a small grid. (peghole wide is and always will be totally awesome.)
• saberrider for flirting with a similar ratio of squished brick, though via a different approach.
• thalamic for being thalamic ^.^.

Hey, thanks everyone for the love. I will respond as soon as I can in better grace, just know it has been a crazy week for me culminating in getting in an almost-fatal car crash hundreds of miles from home last night! I'm lying in bed with a concussion and finding it hard to finish thoughts through the pain. Bear with me – I know you know how.

To everyone: Thank you tremendously for your generosity and taking the time to recognize me and my small contribution to the fontosphere!

The next thing I want to say is: two weeks later, my recovery from dancing with Death is going better than I might have expected. The concussion effects still linger, yet I have been able to return to work half-time and have great hope for a complete physical recovery in time. So, thanks again for all your care well wishing – ¡Un Enorme agradecimiento!

The T Party , Pt. I:

Nippa: Sorry for the slow response. I really do appreciate your thoughtful input; things in my life seemed busy when you first commented before going just nuts soon thereafter.

To be sure, I experimented extensively with the design of djangogh’s T. Facing such an extreme combination of grid size, filter settings, and style, both the T and Y presented potential show-stoppers. Their stems should of course fall in the center as you astutely demonstrate above.

But even more primary than legibility (typographic blasphemy!), the quintessence of this design is boldness, internal rhythms, and boundary-pushing verve. Thin vertical counters are djangogh’s heart; distinctive symmetrical modulation of this its soul. I promise, they told me so!

And I simply fell in love with the stemless solutions – the only direction I found to really fly. Call them artifacts of my own obsession. Such magnificently iconic, powerfully oscillating positive and negative space – Serifs swallowing their very formative anatomy. Kinda sounds like a Bosch painting? >*-›}>

Many other letters court and spark on the illusive super-serif (thank you, Frodo7, for observing this!) but the T fully embodies it. It epitomizes the spirit of djangogh.

Which came first, I left the party wondering, the chicken or the beak; the root or the stem; the fundament or the sky?

Please know I greatly appreciate your and Shasta’s suggestions on their own terms – and my guess is they all go rather well with the lowercase set.

I featured djangogh’s T so prominently in the sample as I greatly desire feedback on both its impressive and underwhelming qualities (so far mostly the later :). It’s important for me to hear you question it and for me to attempt to illuminate my process. Considering it comes from such an unconventional and riddled place, I believe it works unreasonably well. I want to present it boldy. To fail beautifully while doing something never before seen.

In other words, it’s the closest I’ve come to internalizing and expressing the vibrantly gestural and often perplexingly complex code of graffiti art, tagging, pixação...still a mystery to me!

Thanks xeno,

With this piano key face, I embraced the inherent notchiness of non-integer advanced scaling of the x-axis. This is a good contrast to my recent Geodoni EBC, which uses 2:2 filtering and the new compositing and stacking features as a basis for individual brick scaling.

With Djagogh, I use a variety of inventive brick combinations to enclose the counter spaces formed by my scaling settings. You see how I connected the top of the B (and many others)? That little imperfect trick to blend curve and diagonal informed my particular choice of scaling factor, though i decided to tweak it a tiny bit out of optimum range so as to achieve maximum display regularity in all the different preview widgets. I know, it’s a rather arbitrary metric once the font is downloaded, nevertheless I consider it a worthy bonus when on-site previews look their most pristine. :)

I am working on an fs 2.0 version of Djangogh which is even more effective in balancing the sizes of the vertical, horizontal, and diagonal counters. Look out!