ORIENTFAHRTEN (Pro) — Semi-connected script-style font design
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Losely based on the lettering that was seen on a 1929 poster design by German painter Ottomar Carl Joseph Anton (1895-1976) for the “Hamburg-Amerika Line” * (click for image of the original poster)
Whereas the original (non-Pro)-version aimed at extracting that “stylistic essence” of the lettering, and made an attempt at extrapolating and restoring a full alphabet from the letters provided by the original poster. And this basically became sort-of a font revival with a little extra's.
ORIENTFAHRTEN (Pro) than took this to a whole other level, This refor-mation wasn't guided by Ottomar's original poster-lettering, but rather a remodeling and amelioration of my initial work.
Many glyphs were fully re-invented, others only just partially improved.
In addition to this, many new things were introduced as well. For example, the font was further ornated with various typographic elements and bits, reminiscent of calligraphic hand lettering. Turning this into a much more attractive looking little novelty.
Also some “technical” restructuring of the Unicode character mapping, to creating more user-friendly text formatting properties.
Since it is a semi-connected script, certain characters were deliboratly disconnect and some weren't. For example, the uppercase letters almost all disconnect, whereas the majority of lowercase letters will connect by default. A set of glyphs alternate forms was included that allow to break the 'connected' flow of a text.
These also function sort-of as “Contextual Substitutions”, but without OpenType's automated glyph-stream lookup classes. Yet these do allow the manual control over word-endings and word-space situations. So when a default-glyph is followed by a white-space, a glyph-alternate form could than be selected to replace the default-character encoding and improve overall aesthetics and natural flow of text. These substitutions are located in the “Halfwidth and Fullwidth Forms” and “Private Use Area's” Unicode blocks. In addition to the default alphabet letters the font also includes numerous symbols and punctuation marks, as well as ligatures.
As for the “numberscomp” that is currently in progress:
This font was specially fitted with 5different schemes for text figure arrangement.
• Didot-(old style) non-lining (font default)
• Traditional-(old style) non-lining
• Clean-(modern) lining
• Tradidotional-(old style) non-lining
• Ornate-(modern) lining
— This does temporarily create a new problem for me though... As this would be my fourth submission to the competition, where a maximum of only three font submissions is allowed. Now, which of these previous entries am I going to eliminate?!
I hope you like it,
Cheers
This is a cloneNumbersComp's brief saids: "As always, please do interpret the theme as loosely, literally or figuratively as you wish – it’s there only to inspire, not to confine." That's my point. Here in FS, we can also draw with NUMBERS (= brick coordinates). This is a tribute: my humble fontstructization of a linear portrait of the great Master Erik Spiekermann made by Bill Dawson (©2015). To get the full image, please type: ABCDE (return) FGHIJ (return) KLMNO (return) PQRST (return) UVWXY (return) Zabcd (return) efghi -these last five glyphs are for the name, if you want add it-. And don't forget to adjust the line spacing if you want a good result when printing it. Thanks for sharing it.
A narrowed zrebmun version, trying another different point of view for the original font. Let me know what do U prefers, please.
This is a clone of zrebmun eYe/FSThis was an attempt for a thin line rounded numbers based on straight circles, but could not manage to consistently expand on the idea trough a whole font. Originaly meant for the competition, but it was not worth it at first.
The NUMBERS were the origin: This font has been created from the design of glyphs 0, 2 and 4, which was then extrapolated to the rest of the characters. Unicase with alternates. Thanks @AidenFont for the vertical stripes idea.
MARTIAN AMBASSADOR — Future retro / Sci-Fi style
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A future retrostyle that reflects the social construct at the dawn of the Computer Age through the zeitgeist of that 70s and 80s aesthetic fashion, which was strongly influenced by things such as: space, computers, sci-fi and cyberpunk.
ANTI-QUE — Asian calligraphy inspired
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Anti-que features a romanized lettering concept that was designed to mimic the stylistic properties of Asian calligraphic characteristics.
The width of the letters spelling out each number is different after the first 2 letters (but the "i" is always 4px wide)
Four numbes added : "10" is on the "K" , "11" on the "L" , "ZEHN" on the underscore , "ELF" is on the "$"
My second entry for the Numbers competition.
This one has actually been sitting there for a while already, I haven't published it before because of the terrible kerning and some awful letter solutions. But I think the numbers are quite cool, so...
A custom six-segment display design. All combinations of segments are in the braille section.
Some forms may look weird because the display was optimized for numbers. I came up with the whole thing while in the car.
I unfortunately can't post samples in the comments right now. Womp womp. :I
The title is a shortened version of Keш Чijolu d Namerjoä. This means 'For numbers battle' or 'For numbers competition,' which is exactly what it's for.
Wip. Hashtag No Filters.
The font with great attention to numbers, from which its creation began and they set the style for the rest of the font. The result was an art deco style font with not the most balanced (A so wide), but strictly geometric proportions, as was done on posters of that era.
The name is in honor of Kazimir Malevich, the famous Ukrainian artist with Polish origin. Malevich works: https://arthive.com/kazimirmalevich/works?_lang=EN