For Sándor. The font has upper and lower case. Having 'played' with the baselines for the letters I decided that this font looked better with LC letters aligned at the top rather than on the base line. The font has basic Latin and most glyphs of the more Latin set, and I added the Polish diacritics.
I wanted to try some 'deformation' of the perspective used for italic glyphs. It was fun to try, the font looks amusing and the slants are irreverent enough. I know that a word processor could change Raysan into an italic style but a word processed Raysan would be too predictable and without creative spark.
Despite the purposeful changing of lines specially the curved sections which don't follow any "perspective rule" this font looks italic. It has a pleasant rythm in longer headlines etc, and gives eye catching 'splash' text when used with the parent font.
It took quite a while to finish, I constantly fought the wish to make composites and stacks to get the correct shape and directions into the curves.
This is a clone of RaysanA rigid all-caps font, display/signage style. No curved shapes - I wanted something in the same spirit as "ITC Machine" (Designed by R Bonder and T Carnase in 1970). Thus with a little less compact approach, making it more versatile. Zoomed out, It’s like an edgy, bold and slightly condensed neo-grotesque.
(This fontstruction may be part of a client project, therefore it is fully licenced - at the moment. Hopefully I´ll make it downloadable under the fontstruct licence.)
At the end of October I decided to dive into the new Bricks 'Connect'. I started with the lowercase 's' & 'a'. Working out what the minimal size I could fontstruct it in, then expanded and condensed it from there to accomadate the rest of the glyths. You can still see these in the font above (Just before the Latin characters. As I progressed I came to love the thin white gaps, and then tried to have every glyth with some element of the curved white gap in it. Some were more successful than others. As you can see, I have included the less preferred options at the end. I've also designed some of the final glyphs in illustrator, as it was impossible to have all of them with one white line, without help from an external app.
The most difficult glyphs to create and ultimately the most satisfying once completed were the 'V' and '~'.
I liked the look of final font so much, that I decided to create a whole family. Cableguynium 0 (which has Zero cables), CableGuynium 2 (which has 1-2 cables per glyth), and CableGuynium 3 (Which has 3-4 cables).
Unusually I struggled naming this font, I have early versions saved called Flowonica, Rubber Tyre, Ice Skater and Fibropticon, ..... eventually settling on CableGuynium as it was the most memorable.
ANY CRITICISM, GOOD OR BAD IS WELCOMED.
I based this font on the unusual lines of letters n, r and k I see on my mum's document folder, since I was old enough to be shown.
In the war my mum was a secretary in hospitals. When she was 21 she made friends with a Hungarian doctor there who helped her deal with the many terrors she saw daily, things most people never realised existed. He helped her survive and became her mentor and protector. He made her a beautiful folder for her documents and letters, from cardboard, kraft paper, inks and obsolete x-ray supports.
He decorated the folder with traditional designs - on the front of this folder he wrote Emlék ................... My mum used the folder until she died, just recently. My parents named me in honor of this man.
This font is in memory of my mother and also of her protective angel whose name I heard too rarely to remember, and sadly my parents never managed to trace him after the war.
Alternate g=\, alternate k={, alternate m=I, alternate z=}, alternate UC ß=#
Gildor: A high elf from Tolkien's The Lord of the Rings. He met Frodo, Pippin, Merry, and Sam on their journey to Rivendell. Gildor Grotesk: I considered the alliteration.