Emil has a sympatic character, even if he has his little edges and corners. Nevertheless, Emil is not too eccentric. It' s possible to work with him and maybe Emil will go one step further towards italics...?
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.
This is a cloneDecoreus. 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.
The design process is typical in its atypicality (yes, it is a word, or, at least, should be!).
The atypicality necessitates the telling of the story behind it.
Looking for something to do...something easy to do, I came across the font shown 5th from the top in this article on Dieline. "I can do this," thought I. I did a 2 that looked similar. Based on that, did the 3. 5 6 9. 0 8. 1 7. "Hmm." Add the horizontal stripes. 7. 4? "No." Re-4? "No. Another 4? Perhaps thinner sides?" "Even thinner." "Hmm." Redo 1 2 3 5 6 7 8 9. "Maybe this is better. OK, lets do the letters." Start with Z because it is almost a 2 with minor curve tweak. Do the S. B because 3 is done. A. V. C. E. F L. J. Etc.
The glyphs so far have a 3 horizontal band appearance. Do the lowercase. a is two bands. b is two bands...but how high should the ascender be? Also, the x-height seems wrong. Off somehow. "Can I do a 2 band uppercase with the letter slightly taller. Maybe 2 bricks taller?"
Redo A. Redo B. "No this B is not working." Redo B. Redo B. Redo B. "Hmm. Maybe." Redo C D. Redo E F L. "OK, this might work." Redo to all uppercase letters.
Do the lowercase. "Yes I like the new f." Redo other letters to include the flip. Most of the letters are the same width. "Maybe I can make this a mono-space font." Redo m. Redo M. W. V. "The A looks odd." Redo A. And so on.
The font may have started as a simple thing but it is very different now. "I'll just publish it." "No, I should at least do the basic punctuations." "No this hyphen is too thick." Redo. "Now it is too thin." Redo. "Now it is too wide. But this is mono-space font. The width cannot be altered." +. "That just looks weird." Redo +. Now the - looks off. Redo -. Now they both don't fit with the rest of the font. Redo + -. "No. I'll come back to them." Do [. "No that's too heavy top and bottom." Redo [. Do (. "This needs a different curve." Redo (. "Can I use this new curve somewhere else?" Redo @. "Hmm." Do ©. Do ®. Do ™. Do “. "I can't make this so wide." Do ‘. "Definately cannot make it mono-space." Redo all punctuation to be their natural width. "This is no longer a mono-space font. Should I redo M m W w to be more natural?" Redo do m. "No this is too much work. I can't be bothered anymore. Let the m's and w's be."
"The punctuation looks niiice. Should I do a font to match these?"
Create New FontStruction
A — single-story “a”;
B — alternate “a”;
E — alternate “&”;
H, I — double-story “g”;
P — alternate “r”;
C, G, L, O, R, T, X, Y, Z — alternate “c”, “l”, “o”, “r”, “t”, “x”, “y”, “z” respectively;
Started this font on a whim on the phone while having my morning coffee. The first version of the uppercase letters was done in the time it took to finish drinking it. Worked on it off and on during the day. Was done by evening. The sample probably took longer than the making of the font.
Thanks, fontstruct.
011616. Oops. This one was supposed to be released when it was created. Somehow it got lost. Anyway, it was an experiment with smoothed out diagonals, which was difficult before the brick nudging feature. Now it its easy. So more improvments added. Here was my original text in 2010. Old links were broken, I can't add links anymore...?
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Created from scratch, but inspired by will.i.ૐ's WPA Go Thin, which was inspired by Stewf's WPA Gothic. Not as much an in depth character study as William's, but delving deeper into the concept of smoothing out all hard edged corners, especially the transitional connections between all diagonal lines to their horizontal or vertical counterparts. This direction forced me to dig deep to figure out if it was possible to create a smoothly ramped curve. After chiseling out multitudinous variations of composite combinations, I came up with this solution. Then I pat myself of the back and gave myself a cookie. The technique is also employed on my Escapade, and Streamlyne fonts. As usual, I like to leave these techniques as Easter eggs for everyone to discover for themselves using their own creativity. Sometimes its inspiring just to know such a thing is possible. But let me know if you can't figure it out. Press Shift+PXL on the preview to zoom in and check it out.
This is a cloneInspired by the Maze Set. A technical fontstruction showing the usage for thinner macaroni bricks. The logic for possible counter relation:
1) Every letter is filled with thinner version of itself (self-pattern fill).
2) Outline vs Inline, emphasizing the "opposite" meaning of counter.