SPOKOYNOY NOCHI — Revival of famous 1920's Art-Deco lettering
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☛ THE FONTSTRUCTION
Its sort of a reimaginative digitized revival of the famous lettering by Anton Kurvers, designed in 1927 for the Flemish folk theatre in dedication of Joh. de Meester jr. commissioned by Wendingen for the 3rd issue in the 8th series of this famous magazine. It is one of the many graphic designs by his hand. —Its a simple monolinear Art-Deco style unicase lettering with additional full size alphabet set of uppercase glyph alternate forms that is located in the Half Width And Full Width Forms Unicode block. Some global kerning was done, but extra pairs are still required…

☛ EXTRA NOTES ON THE ORIGINAL CREATOR
Antonius (Anton) Kurvers (The Hague, 23 July 1889 - Amsterdam, 29 January 1940) was a Dutch artist. He was a draftsman, lithographer, furniture designer, textile artist, decorative painter, industrial designer, graphic designer and book cover designer that became a prolific letterer in the public sector. Many of his lettering as well as other works can still be seen in public and on buildings throughout the city of Amsterdam. Kurvers was the student of famous Dutch architect Hendrik Wijdeveld (1885-1987) and started during 1911-1914 as a painter of theatre sets in Paris. This was followed by years of stained glass design. After this period he discovered graphic design. In 1919 the Public Works Department of Amsterdam hired Kurvers, and this position Kurvers made an important mark on the design of municipal institutions. He designed various public objects such as the blue Municipal Giro-box in 1926 for Public Works in Amsterdam. He also designed a red Holland mailbox for the Dutch PTT in 1929, as well as a blue postal stamp machine in 1936.

☛ THE FAMOUS MAGAZINE
Wendingen (Dutch: Inversion or Upheaval, literally turns) "monthly magazine for building and decorating" was an architecture and art magazine that appeared from 1918 to 1932. It was a monthly publication aimed at architects and interior designers. A total of 116 issues were published and it served as a mouthpiece for the architect association Architectura et Amicitia (Architecture and Friendship). Its association with Architectura et Amicitia didn't meant the content would at all be limited to just architecture, and specific special attention was paid to both visual and applied arts.

☛ In Modern architecture of the 1920s were three notable movements.
Cubist, Expressionist, Functionalism and Constructivist architecture. All three respectively had their dedicated artistic movements, and typograpy or lettering was no stranger within these movements. Wendingen earned recognition not only through its content, but also by its remarkable square format, but probably most nowadays in modern times for the striking typographic content by artists such as: H. Wijdeveld, A. Kurvers, E. Lissitzky, V. Huszar and many more. Editor-in-chief was Hendricus Theodorus Wijdeveld, another famous Dutch architect and graphic designer. Initially the magazine was an important platform for the Dutch expressionism movement, also known as the Amsterdam School, but later endorsed a post-expressionist spirit, also known as the New Objectivity and was a reaction against expressionism. The primary aim of Wendingen was to enhance the aesthetic quality of architecture and to serve as a source of inspiration for its members.

Wendingen was influential on Expressionist architecture, especially in The Netherlands.
—Another similar Dutch magazine from that era was called De Stijl, but it was more influential on Swiss Style and International Typographic Style.

@Frodo: I know this is the sort of stuff you appreciate. So here is one dedicated to you my friend, enjoy! 🙂

Every link included redirects to something different that is related to the highlighted text. The resource trivia does not contain any duplicate links —there are some unique and interresting reads in there!

Also the grand total of 6 new characters was added to the font in celebration of the updated font description. Enjoy y'all...

@Frodo7 & elmoyenique: Thank you my fellow colleagues. It is simply because of beautiful people like you two that my inner typophile was lit up for a second again. For this breef moment I actually found some of that good old joy back.

And though yesterday once more proved to me that time had not yet arrived to trully return (as u might also have read). As it would likely just be a matter of time before I sink back into toxicity again. But, I also notice that those couple of interresting conversations shared with @Frodo7 the past few days really helped me in recapturing some of the vibes that pushed me in that right state of mind that allowed me to feel creative again. Thanks mate, very much appreciated!

Of course it is kind of unfair to say that I will no longer return to drop in... 7 years, 375 pulbished contributions (1017 private) isn't just anything I could easily turn my back to. More than anything, I'm an artist at heart, and will forever be so! Therefore I'm sensitive about my crafts. In other words, it would be highly unlikely I'll ever be all together gone indefinitely.