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I really like the way this one turned out. It uses minimal grid blocks to achieve the desired effect (although at ~2x2 and the slivers and the pinhole dots, there are a surprisingly large number of actual bricks used per glyph than evident at a quick glance, although not a single overlapping brick is used without express purpose). I think this is my favorite of all the ones I've done so far. It is with nervous anticipation that I let it free. Go forth and propagate, young font; it's You v World!

Info:

Created on 30th September 2008. Last edited on 12th June 2009.
License:

All Rights Reserved. No download available.
Categories:
- Display
Sets:
- Heavy
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19 Comments

Comment by thalamic 7th october 2008

Hi Thalamnic!

A perfect 10 :D

A REAL monospace!

The F is great!
The K is lovely!
The X is extraordinary!
The Q is brillant!

Each Glyph is a "augenweide" (can't
explain it in english ... and it means: goood!)

Comment by guentersen 7th october 2008

Words fail me. The numerals are delicious.

Comment by afrojet 7th october 2008

this is nice. very astronomical :)

Comment by funk_king 7th october 2008

I agree. This is perfectly pleasing. The V and X are inspired. The whole thing is inspired. Can I sublet your muse for a week or so?

Comment by intaglio 7th october 2008

Wow, that's quite the reception. Thank you all. Your appreciation is highly regarded. :)

@guentersen: augenweide=eye candy. Sweet!

@intaglio: I did this a couple of weeks ago. It took me this long to get the nerve to share it. Ah! the muse, so fleeting her visits.

Comment by thalamic 7th october 2008

A decorative minimal font: very inspiring!

Comment by Em42 8th october 2008

Gorgeus! Brilliant! Awesome!....10 points!

Comment by Axel Leyer 8th october 2008

Never did the pink dot more deservedly fall from heaven.

Comment by intaglio 8th october 2008

Thalamic, an "all black" version without the pinholes would be interesting too...

Comment by Axel Leyer 8th october 2008

guentersen, afrojet, funk_king, intaglio, Em42, and Axel Leyer...thank you all. Your positive responses have made my day. You are all very kind. It's nice to have friends. :)

@inti: How nice you are. Many thanks.

@Axel: This font started out as all black. The pin holes were an accident of brick placement which I liked so much I went and poked holes in all the other glyphs as well. I'm happy to let this font be sans siblings.

@Stewf: Thanks for, as intaglio calls it, the pink dot. Appreciate it. :)

Comment by thalamic 8th october 2008

I agree that this is an awesome typeface. not only is it well crafted but there's a really well thought of concept behind it. there's just one thing that bothers me. I don't like the V solution. I know it's an extraordinary letter and the similarity to the U requires special treatment but I would prefer straight diagonal lines. the letter falls out of the concept anyway so you could as well use straigt diagonal lines there, though you didn't use them on the other letters. it would fit better to the geometrical charakter of the typeface and the current solution is too random in my opinion.

Comment by David Neustadt (saberrider) 8th october 2008

@saberrider: You are absolutely right. I wanted to use diagonals for the V. The problem is, this font uses 1.8 × 1.8 brick scaling to achieve the slivers of negative space. That scaling caused a problem of leaving gaps between each brick, which I had to fill with overlapping bricks, placed strategically. This same technique give rise to the pin holes as well. Using the appropriate overlapping brick at specific intersection was the key in getting the smooth curves and fills. This technique worked for all characters except the V. The gaps left by the angled bricks was not possible to fill using any existing overlapping brick. The rounded edges of the V were the only possible way to stay within the parameters of this font's design. Having said all that, I actually like the V solution. I worked up other angled V's here (see below) to show how the angles did not work in this font. (The overlapped areas are light purple (?) in the image below).

I appreciate you taking the time to review each character and offer advice. It is one of the reasons I keep coming back to this place. Thank you.

Comment by thalamic 8th october 2008

Can I disagree? If you have to bring the V into line, you've got to bring the X in line too. Although it's more "right" than the V it's also on the cusp of weird. No no no. I reckon the V is inspired and shouldn't be mucked about with.

There are plenty of famous fonts that have one or two quirky "wrong" characters. We don't see them as wrong any more because we don't see the wrongness anymore. I love that.

Sorry saberrider I reckon thalamic was visited by the muse one night and everything about this font is perfect.

Comment by intaglio 8th october 2008

Thanks, intaglio. :)

I do believe that one of the reasons this font works is because although there are strong design limitations in this font, they are not so strict that they cannot be violated here and there. It makes the flow of characters less monotonous...I think.

Comment by thalamic 9th october 2008

FS_Minimal...now with lowercase, $ and--thanks for reminding me, intaglio--introbang.

Comment by thalamic 10th october 2008

gorgeous.

Comment by intaglio 10th october 2008

@i: :D

Comment by thalamic 10th october 2008

I've been trying to take a break from the guilty pleasure of FontStruct to get some actual work done, but I couldn't help myself with this. This one's sweet, thalamic. Love the lowercase samples. 1.8 is a tricky grid workspace and you've done really well with it. Here's just another option for the V that is in between existing solutions. The only other character I'd modify is the left side of the number 7 which I would raise one grid space to set it apart from the number 9.

I also share your attitude of releasing a font by "letting it free." :-)