A font i have been working on for a while, but with some characters removed, because it seemed like it was not going to be finished in a while. I just wanted to publish this first

I based this font on the unusual lines of letters n, r and k I see on my mum's document folder, since I was old enough to be shown.

In the war my mum was a secretary in hospitals. When she was 21 she made friends with a Hungarian doctor there who helped her deal with the many terrors she saw daily, things most people never realised existed. He helped her survive and became her mentor and protector. He made her a beautiful folder for her documents and letters, from cardboard, kraft paper, inks and obsolete x-ray supports.

He decorated the folder with traditional designs - on the front of this folder he wrote Emlék  ...................  My mum used the folder until she died, just recently. My parents named me in honor of this man. 

This font is in memory of my mother and also of her protective angel whose name I heard too rarely to remember, and sadly my parents never managed to trace him after the war.

Alternate g=\, alternate k={, alternate m=I, alternate z=}, alternate UC ß=#

This font came as a fluke off of another font I've been working on since 19 July 2018. 

H was the hardest to get right.

& is just a flipped g.

Decoreus. I love this one, which usually means nobody is going to like it. Thanks beate for coming up with the 20's theme for the TwentiesComp. I don't think I would have come up with this otherwise. 

Inspired by the work of Charles Rennie Mackintosh, specifically the Willow chair. I'm not sure how "twenties" this font is, especially since the Willow chair was designed in 1902, but it seems to kinda fit.

A font inspired by German films of the 1920s, such as The Cabinet of Dr. Caligari (hence the name). Doesn't have a complete letter set; somewhat rushed to publish.

[Click Pixel in the font viewer, then click Shift+Pixel four times to view the font correctly]

I love it when fonts come together like this one.

It started as me thinking what can I do for the 'twenties' that isn't 1920s. (thalamic has done those before!). The idea that I was toying with was doing each letter on a grid of 20 parts (blocks, stripes, etc.). There is already a stripes font in development (which is unlikely to be shared any time soon). I thought maybe I could convert it to a 20 stripe version. But it's too optical illusion-y and requires blocks of free time at a stretch for me to visualize the letters, which I don't have. Then the idea came to just develop a new block that says 20 on it and use it as a pixel for some pixel font. Which led to thinking an XX is 20 in Roman numerals. So I thought develop a grid that reads XX in multiple ways and directions. 

With that basic idea, I started tinkering with the fontstructor and soon realized that I will need a lot of bricks. That necessitated making custom X and O bricks. That gave rise to the basic grid block of 7x7 grid that can be used as something that can be "carved" to form various letters. Better in theory than practice. M is OK, but a 7 brick wide A is just too wide. Plus the larger Xs were too white. Had to create more custom bricks to take away some of the whiteness that left the X still visible. These additional custom bricks were cumbersome to make...mainly because of my limited ability to visualize which brick placed where in a 4x4 grid will create what shape but also because I was using quarter brick corner triangles which meant that each brick of the 4x4 grid was internally a 2x2 grid as well. So a 8x8 grid really with 64 internal smaller bricks. Some bricks required making a custom brick and then merging it with another custom brick several times over to have the correct custom brick. Of course, I didn't know if the pain-stakingly created custom brick will be appropriate or not. 

Much experimentation later, finally figured out what to do with this idea. Once all the custom bricks were created and the basic look of the font developed, then it was just a matter of placing the bricks in the right place. Often times not even that as one letter was just a modified version of another letter...like D and 3 are just a modified B; L and F are modified E, etc. 

This was supposed to be a joke entry that didn't take much time to make. It's still a joke entry not to be taken seriously...but it did take time...and provided puzzle-like geometric challenge to overcome. Very fun.

How could I not love fontstruct!?

A twenties era font with the uppercase measuring twenty glyphs tall, the lowercase measuring five glyphs tall by four glyphs wide, to multiply out to twenty, and incorporating exactly twenty different glyphs to boot.

It was really quite fun seeing all of the ways to sneak the number twenty into this font for the competition. Please enjoy!

When Blackletter met Art Deco

Beeinflusst von Kem Weber (1889-1963)

A-Z on capital letters, alternate Q, S, X, and Z on their lc positions.

It's based on a design I started in 2016 by doodling a few letters with a slight art nouveau look going towards the less ornamental art deco shapes. After the doodles and several attempts at getting a uniform look on the glyphs needed for German and French I felt that the shapes had no personalities-and I stopped experimenting. I left the font alone... and did other types of work. Until the Twentiescomp reawakened my desire to work on the style of this design.....

It's very basic; to be more useful I'll make it less 'decorated'. By reworking the silhouettes of the glyphs I created for the competition I'll achieve a more 'neutral' look , easier to use sparingly (for visual appeal) with less complex fonts

When Bauhaus met Art Deco

A few spoonfuls each of elegance and grit. Hand carved and kerned.

Emil has a sympatic character, even if he has his little edges and corners. Nevertheless, Emil is not too eccentric.  It' s possible to work with him and maybe Emil will go one step further towards italics...?