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Inktraps galore! See also xe Inktrap Bold.
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    Created on 23rd May 2011. Last edited on 23rd May 2011.
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9 Comments

Great family full of pithy design choices! Can you wrangle an Ultra Bold weight?

I suggest you increase the letter spacing to at least a full grid space. Afterward, reining in the right side bearing on your t will improve default inter-letter spacing.

The titular reference is a bit off. Here’s a good reference for what I believe you are naming.
Comment by William Leverette (will.i.ૐ) 24th may 2011
Well, here was my source. It makes sense, what you're saying... and I suppose you're right. Can you clarify on what you mean about the t?
Comment by Logan Thomason (xenophilius) 24th may 2011
"Pylons" are different than "ink traps" in that curves themselves are fractured. I am only cutting off at the stem, and even then, only with some curves. I still strive for each letter to be a single stroke.
Comment by Logan Thomason (xenophilius) 24th may 2011
I suppose it can be categorized either way.
Comment by Logan Thomason (xenophilius) 25th may 2011
True. xe Inktrap does not fully qualify as a stencil design, be it by a slight margin: B, 8, O, o, and 0 lack pylons. But it is a mere stone’s throw (or is it a brick toss?) away. :)

While pylon is not yet a widely used term of typographic anatomy, all the stylish gaps you included in your letters look to me just like pylons; the letters largely appear to be stencil forms and could function in this way.

Btw, pylons can cut across counter-forming strokes at any point or angle along that stroke (e.g. Glaser Stencil) and often do for visual flair or for more practical reasons (like reducing the number of cuts needed to make the stencil).

Ink traps rarely cut completely through a stroke. When they do, as in the wikipedia example, they are very minute cuts (i.e. closer to the size of gap in your M), that are meant to fill in and disappear completely due to ink spread in (esp.) cheaply printed output. In most cases, they amount to a characteristic and precise thinning of strokes in the immediate vicinity of junctures. Cute little notches, nooks, and crannies instead of gaps.

Comparing the gaps in M, W – and to a lesser extent Y, a, s, etc. – to the rest of the pylon-sized inktraps, I wonder if you should make a custom composite brick to bring the interrupted strokes that much closer to the stem they approach and to the definition of “inktrap”. Categorically, I believe, this will make your design more consistent and appealing.

I still want an ultrabold version! ;)
Comment by William Leverette (will.i.ૐ) 25th may 2011
Now how in the world did I miss these two sets? Both of em just beautiful. 10/10 for both!
Comment by Ken Bruce (crispycraker) 25th may 2011
Now how in the world did I miss these two sets? Both of em just beautiful. 10/10 for both!
Comment by Ken Bruce (crispycraker) 25th may 2011
Sorry. The computer seems to be into double posting today..
Comment by Ken Bruce (crispycraker) 25th may 2011
@williaum: I see what you mean. It makes sense. About the ultrabold version... I don't think that would work, because I already pushed FontStruct with the composites I made. It would work, I suppose, if I just thought a little more about it.

Meek, maybe you could look into making the composites system a little more free. It feels sort of limiting to only have a four-by-four grid available for composites.

@crispy: That's all right. Thank you for the compliments.
Comment by Logan Thomason (xenophilius) 31st may 2011

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