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I present you with a draft of fs Fermat’s basic latin characters, an oldstyle serif face designed sans external reference.

What began as a half-resolution pixel sketch then acquired a row and column of space between each respective row and column of pixels. In this way I manually doubled the grid, refining glyphs and adjusting their widths as I filled in the 75% undefined pixels that grid-doubling produces. Uppercase was my next addition, then revision, revision, revision.

Visualizing curves, contrast, bias, and stem thickness with whole pixels as the unit of increment turns out to be a very interesting game. I suspect I have just enough resolution to achieve the level of fidelity in the curves I was going for. Composites will allow for more subtle refinements while smoothing out most of the diagonal lines used (with the exception of the current N and X).

Enjoy!

Info: Created on 2nd August 2013 . Last edited on 25th August 2013.
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23 Comments

Comment by William Leverette (will.i.ૐ) 2nd August 2013
Gorgeous :)
(Also, there seems to be a stray pixel above your extra X)
Comment by Umbreon126 2nd August 2013
Eagle eyes, Umbreon126! That’s a spacing pixel to tune the vertical metrics. I’ll move it to another glyph, for now. :)
Comment by William Leverette (will.i.ૐ) 2nd August 2013
Maybe you should put it on the pipe, or turn it into a decorative asterisk? :P
Comment by Umbreon126 2nd August 2013
Just a rough draft of the most basic characters, for now. No decorative characters as of yet, though that’s a very practical solution! ;)

I’ll post images of my process, as I think the grid-doubling approach is worthy of further exploration. The next step before I move forward with more characters is to test out composites. :)

Thanks for your input!
Comment by William Leverette (will.i.ૐ) 2nd August 2013
Beee-yootiful! I'm looking forward to seeing more. :)
Comment by ETHproductions 3rd August 2013
Please finish this, it's amazing. 10/10,as is usual.
Comment by Jamie Place (FontBlast) 3rd August 2013
An absolute delight to the eyes Its elegance is jaw-droppingly wonderful. 10/10++++++++++
Comment by p2pnut 3rd August 2013
An fs user named j4s13 messaged me with a helpful critique: Revise those overshoots! While composites offer the most versatile solutions, he was also correct that I could get closer to my ideal with several whole pixels. So I adjusted them throughout and updated my sample.

The overshoots are now a bit overshot. But rest assured I will rein them back in during the compositing phase. It’s already an improvement.

@ETH, FontBlast: :) Thanks. I do have plans to flesh this out...if I can be a buzy buzy bee! The question is do I continue to build it first at half-resolution? It’s a more involved process with grid doubling, but not one without benefits.

@p2pnut: You make me blush! I’m glad you appreciate my work so much. The lessons I learned from polishing RM Uncialic will definitely instruct me when I get to that painstaking step. I wonder if for your high-res works ever begin as pixel fonts such as this?
Comment by William Leverette (will.i.ૐ) 3rd August 2013
Elegant shapes coupled with nuanced ink traps. 10.
Comment by demonics 3rd August 2013
This is fabulous.
Comment by sarreyn 3rd August 2013
How apropos, William. To choose the name "Fermat" deriving from Fermat's Last Theorem which was known as one of the "most difficult mathematical problems," you have delved into the development of the most difficult typographical and fonstructological endeavors - the creation of a readable serif typeface. It is not only the success of the attempt that is notable, but the effortlessness by which it seems to have been created. Open, airy, ethereal, balanced, stylistic, and regal are just a few words that easily come to mind. I'm left rapacious, even ravenous, for more of this. It was only through FS that I've come to respect text based serif and san serif type designs, with paragonal fontstructors such as yourself, Ray, beate, and especially Intaglio who fearlessly besieged his typographic experiments. I'm most comfortable with display faces, but readable type design always seemed so formal and serious. It's similar to how hip-hop dance comes natural to me, but I can still function in a ballroom setting.

Now by manually doubling the grid, are you saying you were going from the 1:1 to 2:2 filter space by displacing each row and column by one grid block, or are you remaining at the 1:1 ratio? Either way, it is a technical and tedious challenge indeed. This is probably why you suggested single row or column selection. Working with the double size should be fine. Larger sizes offer more spacing options, but there's always the challenge of finding the balance for efficient brick usage. Fermat is great in pixel form, but how did you achieve the manual anti-aliasing in the sample?
Comment by geneus1 4th August 2013
I believe it stays 1:1, just that the pixels are moved apart... kind of like the result of changing a font's filters from the original 2:2 to 1:1 :P
Comment by Umbreon126 4th August 2013
I think there's a stray pixel on the alternate X.
Comment by minidonut 4th August 2013
I have never gone from pixel to 'high-re', but have been wondering if was worth my while converting some of my faux fonts into pixel.

Is there a market for pixel fonts I wonder?
Comment by p2pnut 4th August 2013
Regardless of the steps you are still planning to undertake with this font, this is a very impressive achievement that works well at different sizes. It beautifully incorporates a lot of serif face qualities that few pixel fonts do, well worth the time consuming effort!
Comment by four 5th August 2013
@minidonut correction: it was on the alternate X (lol) (read my comment way above)
Comment by Umbreon126 5th August 2013
@Umbreon126 Do not have conversations here. If you want to have a conversation, clog up your own font.
Comment by Wonson (owowow) 4th November 2013
owowow — but it was actually a relevant topic!
Comment by demonics 4th November 2013
Brilliant. Sorry I was late to the party. Wondering about the 3:4 angle.
Comment by j4s13 9th November 2013
@demonics: I think owowow is either a troll or doesn't really understand what a relevant topic is.
Comment by Noah (winty5) 22nd June 2014
Being patient is a hard thing. The only thing missing to make this a full faux-curves font is... the 3:4 angle.
Comment by j4s13 9th April 2015

This is not a bad modern font, but I put it 9/10. If I understand correctly, the construction of the characters of your font is based on writing with a broad nib. And this, along with horizontal serifs and drops peculiar to the fonts with the base in the pointed nib, looks too much eclectic. "С" "с" and "e" are too "crooked" in the bottom, and look narrow for the design of a wide-end pen. "g" falls to the left. I want to advise you to look at the Wermut font. It also does not strictly follow the rule, but looks cute (it also has Cyrillic, as it was made by Russian designers).

Do not forget that fonts can be based on a brush letter, there are not many such fonts, for example, Campan or Corda by Hoftype.

Comment by Dmitriy Sychiov (Sychoff) 29th October 2017

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