A Gothic minuscule typeface design.
It was crafted from the idea of a drastically simplified
modern take on Gothic medieval script, while making fewest possible
compromises to the overall medieval character of the font.
Nor was it aimed at mimicing any of the Gothic scripts in particular,
such as for example “Textura” & “Fraktur” but, rather recycles a some of their characteristics.
Personally, I think that the original concept was carried out successfully, and that, despite the fact that it was stripped of most, if not all calligraphic, it still managed to maintain a convincing portion of a medieval character.
A font made in the proto-calligraphic style I invented and used when I was a teenager circa 2001-2002. I haven't owned a nibbed pen since those days, so this font is as far as the style was ever allowed to evolve. It's somewhat lacking the handwritten character my writing had, but this regularity is the result I was trying to achieve. I had no particular use in mind for the style other than titling documents. For that reason I consider this to be a Headliner.
- This is Pixel Optimized at 2x size and greater, and can be optimized at 1x size by doubling the letterspacing. (May no longer be true since I've added so many new letters...)
- "I" is kerned to itself so that it can be used to make nicer-looking Roman numerals.
An attempt at Fraktur in 5x5.
Since Roman numerals have no zero, I have put X on 0.
The lowercase is really rough... consequences of using 5x5...
I attempted a blackletter style without any knowledge or references. The result reminds me of a vampire's writing!
The name "Dethzmezenger / Death's Messenger" comes from one of many old joke bands which I created.
Original size: 17.25pt (use multiples of this value for pixel perfection)
Cute little animation for this font:
To see the making of:
https://fontstruct.com/fontstructions/show/1502320/quigley-bold-2-1This 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