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A winning, small-matrix rendition of this super-elliptical monoline sans. If you’d like, please enjoy a private clone to tour the brand-spankin’ new interiors.
I embraced innovation at the expense of imperfection with faux-curve composite stacks. These custom bricks are used to resolve the most glaring proportion issues besetting version 1 (and 2’s) capitals. I risk intermittent aliasing as well as potential inconsistencies in both curvature and stroke contrast. Yet these composite-stack discontinuities (A,C,D,G,J,O,Q,S,U,V) marry unexpectedly well with the extensively used macaroni bricks and remain themselves smooth up to an impressive 72pt.
Manual kerning leaves a lot of room for improvement. The alternates are included mostly for curiosity’s sake. Another work in progress with samples to follow. Feedback is always very appreciated; thanks in advance for it! :)
23 Comments
It was this type battle, that turned me on to the whole phenomenon, after all. I had plenty of brilliant inspiration from true pros and passionate aficionados there to spark my interest.
It became quickly and somewhat disappointingly clear that a custom brick function is necessary to achieve the results I envisioned. This drove me in my original search for a way to stack bricks. Idly wishing I could combine brick shapes, messing with transparent overlays involving sets of dragged bricks, this led to my first unintentionally undo-glitched stack.
How did that happen, right? But I had already worked out the solutions they offered to design problems I encountered initially working at such small scales. Boy, did I clamor for customizable bricks in the early days! ;)
So here’s the proof. It turns out patience is the stronger virtue. Rob always seems to balance ease-of-use and accessibility with rapid integration of complex features. Yet, we now have been given by him a custom brick tool perhaps deceptive in its simplicity. The real potential of stackable composites is quite impressive and offers more than a few twists and turns.
The ‘y’ was a particular trick at this small scale. I feel proud of the unconventional outcome, and pleased you dig it. Born of a combination of approaches used to form ‘a’ and ‘v’, it still shocked me by working out. As usual, screen legibility pushed me in my attempts at improvement.
@Frodo7: Thank you always for your pithy and generously observed comments. Your compliments are a pleasure! :)
Your process does raise a lot of questions for me. When I start at text font I'm usually working with bricks I design first or with a fontstruction similar to DJNippa's brick template. This fontstruction contains over 300 bricks - a majority of them custom made. How are you possibly keeping track of what bricks you are using? My approach for text is completely opposite, working in a large scale with minimal brick usage conforming for speed instead of individuality, so this work fascinates and intrigues simultaneously.
But here's what I mean: Paradoxx is 90 grid spaces high and uses only 26 bricks.
It's visually beautiful, but you really need to clone it and look at how it's built.
Please give me a few days, no more than a week, to collect my thoughts and finish moving into my new home. Once this transition is accomplished, I promise to give a substantial reply to better illuminate my thought/design process.
It's worth to take time to look at every single glyph.
Gotta pick my jaw up off of the floor now!
will you make the predecessors(Rondo&Rondeau) of Rondeux available also? Your evolution map displays them nicely.
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