by intaglio
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A cross between a slab and an I-don't-know-what. Works surprisingly well as a text face. Although it's quite quirky, setting it in a block seems to iron out the strangeness.
23 Comments
Though not always! Different rocks to negotiate with an upper case... I shall try the old handgloves on to see how that goes.
I love FontStruct. I'd love it more if I could just have some teensy weensy triangly fragments. Hint hint.
It's mitigated somewhat by the fact that the C and G are open forms. You know, optical space, blah blah. Some of the other glyphs are marginally too wide, so it all sort of comes out in the wash.
Apart from my teensy triangle obsession, my other item on the wish list is (individually!) scaleable bricks. It would be nice to have my cake and eat it. A nice, fine grid for stroke weight subtleties combined with individual bricks (i.e. the curves) that are double or triple the x/y of everything else.
Then I'd be happy. I really would.
Later: I think this is quite a good solution. Well, a disguise, anyway. The top loop still looks a bit cramped, but.
And while on the subject of bricks and grids, not just individually scalable bricks, but brick placement across grid boundaries in quarter brick steps--leading to a non-modular modular fontstruct. It's true isn't it: Humans are never satisfied. heh
that "D" fall bow thing would look good on it.
:)
I don't know that I want to make all the bowls conform. I'm in two minds. Part of the charm in block setting is the irregularity. If I homogenize it, some of the quirkiness may be lost. I might clone an alternate so I can um and ah about it.
(It will be interesting to see if I've got the attempt at italic formatting right. I don't know about any of this sort of stuff. )
I'm not supposed to do dangerous things like load unregulated (gasp!) fonts onto my work computer so I haven't sampled many of them. So thanks, Thalamic. It's exciting to see them all.
My oh my I've been a busy boy.
Making the 0 and Q conform as well tips the whole thing; it draws into question even more glyphs which then stand out as needing "fixed". Before you know it we have a completely different creature.
I can see I'm going to have to download all my fonts to my work computer, decompress but not load them, and put the resultant TT files onto a CD to take home. I could get myself a zip utility. But that would be too easy for me.
for the picture: i found out this page automatically scales pics to a width of 380 pixels.
From the start saving your pics in that width will solve the problem of distortion.
but, thank you for uploading another one :)
finally, once again intaglio, keep up the good work. this path seems to be the right one for you!
I dearly wish I had InDesign at home but I can't justify forking out over $1,000 for a program that I'd only be using in a recreational capacity.
It's one of the reasons I love FontStruct. It's free!
As for the kerning capabilities… I am not inclined to taking FontStructions to the level of font designing you would achieve in software like FontLab. Structions will always be modular.
But that is my personal attitude and all the respect for your work.
I would care more about a second scale of cicular elements for instance. Bricks to make up a circle that is 8x8 blocks or so…
That's what I am missing.
Peter
In my dreams, I said. I haven't used any typographical software before so anything that lets me make fonts is great in my books.
I'll have to see if it's just too dominant in a text stream... how often does f crop up in a block of text? If I was a statistician I'd have my lookup charts out.
Seeing your lovely graphic(s) I wonder if the cap A and R are a bit like identical twins. Though I don't fancy the fix, which would either be to pull in the bottom bowl of the R to make a more pronounced curve or shift the bowl one brick to the left. No forget it, that's a horrible idea. What to do...
I've opened Fuego, a(relatively) simple font of mine as a Typetool file, and I've optically kerned it so it looks pretty good, but now I can't figure out how to get Typetool to export it as a .ttf and include the kerning info. The manual is a formidable thicket, I've yet to make much sense of it. Steep, steep learning curve for a more-or-less non technical sort of guy.
I find the possibility of altering the nodes of a font like Empyreus, to make it subtly less monoline, a carrot too tantalising to stay in my comfortable ignorance over.
Trying to use Typetool increases my respect for FontStruct, if that were possible. It's such a formidable thing for a newbie whereas FontStruct is childsplay -- and a joy -- to use. Congratulations Mr Meek, my admiration and appreciation just keeps increasing.
I know is an "old" font but... you know...so much fontstructors & fontstructions out there....
Good work as usual :)
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