A 6x6 font made to look thief-esque. Like a master thief, it attempts to hide in plain sight - putting on an "official" look, or even one that's reminescent of Merchants Guild. But something's wrong. Parts of it are a bit crooked, and the trained eye can easily see it for what it is. APPREHEND IT!
Original size: 5.25pt (use multiples of this value for pixel perfection)
LITERA FACILIOR GOTI ― A 'Blackletter' script style with a twist
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Also known as Gothic script, Gothic Minuscule, or Textura, was a script used throughout Western Europe from approx. the 12th untill the 17th century.
This FontStruction was aimed at mimicing the aesthetic approach of a ― ‘Textura’ variant of the Gothic Minuscule script style, more accuratly refered to as ‘Littera Textualis’. This style is most characterized by its strong sturdy letterforms, with distinguishing sharp, straight and angular features as oposed to the other variations in this catagory.
In terms of authenticity to the original predecessing formal script family, my ‘Litera Facilior Goti’ didn't took a whole lot of care for authenticity. The idea was to take a more independent and experimental approach to shaping the letters and forms, so it wasn't necessarily inspired by any specific typeface in particular, it rather recycles certain characteristics of a ‘Textualis Quadrata’, but beyond those aspects of general guidelines it evolved on its own.
Some of the areas where the design tends to really stray away from the tradition is for example the serifs:
It's often that I have some trouble with the weight ratio distribution of serifs and such elements in simplified modular based geometric Blackletter fonts. In many of such designs they tend to have been left pretty static and equal in thickness throughout the full character set. Which I think is often either having some letters look clumsy or even weird, and generally speaking also often making them appear too thick.
So this was one of the things I had to try and adress, I experimented a little with the style and forms of the serifs. Eventually this resulted in multiple deviations in variety to mix and create a more dynamic distribution. similar to what was done in less formal scripts. Over time they became ever further simplified, letterforms that involved less reorientation of the pen, in pursuit of styles that were quicker to write.
But taken as a whole typeface I find that it is having this certain ‘random-ish’ characteristic that is simply working for the better of these particular style fonts.
I'm still working on improving its overall rhymes and reasons to a certain point that is acceptable, balanced and with enough consistency. But up to this stage I personally think that the concept worked out quite successfully so far. And that even despite the fact that its stripped down of most ornamental decorative calligraphic extravaganza, it still managed to capture a convincing portion of that ‘Medieval ’ looks and personal flavour.
But I think that in the end this became a pretty neat looking font and it would classify somewhere between a hybrid mix of simplified Blacklettering and a drunken man's ‘Textualis’.
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Cheers!
This is a cloneGOSPEL ANGLOS
A insular half-uncial or insular majuscule script style typeface project that is inspired by ancient celtic bookhand & manuscripts.
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The project is aiming at solidifying a number of different insular script styles. The main goal is to create a single typeface that includes about everything required to replicate the decorative writing style seen in ancient celtic manuscripts.(except for the ornamental decoratives)
The font, though essentially a bi-linear or majuscule insular half-incial script, in reality is a combination of different styles and complementary lettersets. Each carefully designed for specific purpose.
For example, it includes a more decorative Anglo-Saxon-script capital letter, perfect for headline text or book bindings. These actually include a small number of short ascending / descending letters, but it remains mainly a majuscule. Then there is a complete insular style lowercase set, but which resembles a more traditional style lowercase letterform. And instead of being proportional sized, these reflect the cap-height, remaining faithful to the bi-linear nature of the script.
Besides all that, there is a set of glyph-alternates for most of the Anglo-Saxon capitals, as well as numerous random stylistic glyph alternates scattered througout some other various unicode blocks. Providing more than enough options to make variations.
To top it all off, I started making a set of more decorative lombardic initial letters, perfect for decorating paragraphs.
(This remains a WIP for now, as I am still experimenting aound with different styles and bits to narrow down the right one that suits this total package)
I like how some of these characters turned out, but many are jiust ideas and not yet reached their definitive forms. But this set proved a lot more difficult than I had anticipated. So,
Any suggestions helping me to complete the full set are very much welcome..
The major recources and guidelines for the creation of this project mainly evolved around the two medieval celtic manuscripts:
"Book of kells" and "Liɴdisfarne Gospels"
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It has grown quite a bit already so far, but remains a WIP.
So beware of very little overall polishing or kerning.
The overall design has quite some rough character, even more so with the insular lowercase set, that obviously was not aimed at smooth edges. Actually the oposite, sort of trying to replicate that rough look seen with many scribes from that era.
But I would love to hear your opinions (or suggestions for that matter) on the work so far. I can really use a little refreshing vibes for this at this point.
;)
Cheers.
BLAYDES - A modern geometric Blackletter style
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Playing around with some more experimental geometric forms for a Blackletter-ish font. It doesn't really involve or honors any actual calligraphic traditions. The font is actually just a simple geometric sans that was modified to sort of faking the looks and style of a Blackletter.
I tried replicating various elements that are traditionally seen in a Blackletter, such as: angular-styled segments such as strokes, transitions, tapered endings or serifs with a different approach. I used a set of circular shapes and variations to these in order to achieve a similar effect.
The end result sits somewhere between this obesed airport Grotesk, a contemporary Blackletter and the work of a bladesmith.
It has some very sharp and pointy tips, and for some reason this often very 'sword-like' forms.
BACK TO THE FRAKTUR - Modular geometric calligraphic blackletter
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Calligraphy inspired design, that even though it's name can be deceptive, suggesting one in thinking it is a Fraktur derivative. Which is actually quite not the case, and as far as being a calligraphic Blackletter inspired work, the similarities between the two stop.
This is a heavily simplified and geometric take on the calligraphic style, with much more modernized letterforms as well.
It remains a WIP, but I'd love to hear what u think so far.
Cheers
A traditional alphabetic font with a medieval flavour. The space is a black circle so a negative space between words. There is a full-stop and a forward-slash (Solidus) as the only punctuation marks. Numerals are based on roman numerals by design but should be used as standard numbers, so 22 is written as ll ll (2 of the number 2) rather than XXll which would be the correct use of roman numerals. PS: The font is surprisingly legible at very small sizes.
Clone of spellbound / envoûté.
This is a cloneThis beautiful font is a recreation of an original font appearing in the SNES strategy game Romance of The Three Kingdoms IV: Wall of Fire, released as Sangokushi IV in Japan. It's my second Koei font recreation after Ishmeria (from the game Gemfire) and I think it's a very pretty and stylish font.
The character set of Sangoku4 includes a vast array of additional diacritic variants, number variations, bonus characters, unique glyphs, and also full sets of the Japanese hiragana and katakana alphabets from the original Japanese version of the game.
I recommend to use this one with font sizes that are multiple of 16pt and avoid any font smoothing or anti aliasing methods.
~ Sangoku4 by Caveras - a font recreation based on an original font from the SNES game Romance of The Three Kingdoms IV: Wall of Fire, developed and released by Koei in 1994. ~
This is a clone'Sacred Textura', by Studio Sampersand, blends medieval Textura blackletter with contemporary design. Crafted with precision, it balances tradition and innovation. Its structured forms and intricate details convey strength and authority. The font follows a precise wide pen stroke-width that follows the hexagonal grid lines; creating a consistent neo-traditional textura font design.