Apparently, it is quite easy to forget what gets a fontstruction going. Something about ultra condensed bla bla bla. The rest is just a matter of having a creative activity to occupy the mind. And if in the process you can help out a friend, all the better.

A light serif typeface incl. some discretionary ligatures.

The letterspacing on this fontstruction would have looked terrible if not for the kerning support. Thankx.

Again, I'm publishing this although it is not finished yet. Seems to become a habit ;-) Anyway, the name of this font is the German word for temporal paradox and this should illustrate the fact that I started this typeface as a Times alternative. As you can see, however, it took a very different direction.

I will add more glyphs in the course of time.

why must J always be so awkward

Conscious design choices:

• Ə's unstraight bar
• ɑ and its variants only have one serif

It's Summertime! You know what that means: no school and more time to work on stuff I love to do, like this! Just found out about this new feature and decided to make a quick font out of it!

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