This font has been almost 3 years in the making. Mostly because how tedius it was to keep copying the same "bricks" over and over.  I'm glad it is finished enough to share. I may or may not (most likely) add more glyphs later.

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.

Undertow from the TwentiesComp.

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. 

2020 Vision. It's ironic because 20/20 is supposed to represent clear vision. But this is what the vision of 2020 looked like. Nothing was clear. Except for the intuitive astrologers. As a group, they predicted things that were going to happen months before anything happened. Maybe we should start listening. 

Broadwaif. Because it looks similar to the Broadway 1920s font, and because its a waif - being neglected, abandoned, and uncared for. Now I'm sad.

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.

TwentiesComp entry, inspired by art deco architecture. Not sure about the V, left some variations there for comparison. Also the uppercase/lowercase grave and acute are different, would like to hear which you prefer.

Decorative, ArtDeco-ish all uppercase font for TwentiesComp. Got carried away and added Cyrillic too ;) Enjoy!

Outline-Mix aus Bauhaus und Art Deco

Art-deco style font developed from the letter s (which wasn't that easy to make).

Moscow, Paris, Berlin in the 1920s... Konstruktivizm, Art Deco, Bauhaus... Effervescent people! This font is for Sergei, the smiling boy in the picture, and for all the people who together built the world. See also zandrine and ztefan.

Berlin, Moscow, Paris in the 1920s... Bauhaus, Konstruktivizm, Art Deco... Effervescent people! This font is for Stefan, the cameraman in the picture, and for all the people who together built the world. Alternative M and N in the { and } glyphs. See also zergei and zandrine.

Paris, Berlin, Moscow in the 1920s... Art Deco, Bauhaus, Konstruktivizm... Effervescent people! This font is for Sandrine, the woman with white hat in the picture, and for all the people who together built the world. See also ztefan and zergei.

When Bauhaus met Blackletter

a twenties-era art deco typewriter font with a glyph count in the twenties for the twenties competition

Decorative experimental letters drawn around XX pattern.

[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!?

Happy 13th BD, FontStruct! WIP (kerning).

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

Inspiriert von Louis Oppenheim

Beeinflusst von Kem Weber (1889-1963)

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

I no longer publish samplers to illustrate my fonts as my samplers aren't wanted. It's nice that Meek publishes them for me; for competitions it seems important that members are made aware of contributions and I appreciate visually contributing and being part of the working community effort.

But I can't justify having to bother him with requests to publish my samplers that I designed only because I made a new weird font for my own reasons, hoping to get some (helpful) comments to point me towards improvements, additions etc.