Old font tastes like modern. Stylistic set for Chrysalide Serif Modern.
WORK IN PROGRESS.
Rossica (Vera Evstafeva)
http://typejournal.ru/en/articles/Civil-TypeThis is a clone of Chrysalide Serif Modern
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!This is a clone
The ultra-low resolution of this grid may be difficult to grasp without cloning. Fontstruct’s logo has a nominal x-height of 3 bricks, by comparison.
The level of detail, control, and finesse possible in a given fonstruction depended mostly on resolution prior to the recent advent of stackable composites. Did you want it better? Make it bigger!
Brute force, now meet Elegance.
Instead of building individual glyphs hundreds of bricks tall, stackable composites allow us to design rich modular schemata hundreds of bricks deep. Using curved bricks at their largest scale, linear and curvilinear elements dynamically harmonize and oppose. As well, screen fonts can be effectively hinted (aside from notable lack of kerning controls) without sacrificing the integrity of joins and intersections. And the trapping possibilities, Oh the sweet sweet trapping possibilities...
Please, vote kindly and stay tuned for more :)This is a clone