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34 Comments
I tried the font in Microsoft Paint and coloured some of the blocks, taking note of the work of Mondrian for the colours and of the relative luminance of the areas in the font for which areas to colour and in which colour.
http://en.wikipedia.org/wiki/Piet_Mondrian
Also, I cloned a copy of the font and used the editor, not to alter it but to study how you represented the colours.
Yes please, it would be worthwhile to add more characters to the font.
May I suggest that an E acute character. namely É, would be useful as one could then set the word CAFÉ using the font.
@Magic Sam & mathematician: here is what I think it should be in colour ...
middle shading = red
darker shading = blue
black = black
I now have the updated version of the font as well as the older version. FontStruct does not count downloads of an updated font by someone who has already downloaded an earlier version in the Stats: display on this page.
If you are feeling like experimenting, you could try making a matched set of four fonts that could be used in layers in a desktop publishing program with the effect of producing a display looking like a coloured font had been used.
One would start by cloning the font four times, naming them Mondrian Yellow, Mondrian Red, Mondrian Blue and Mondrian Black. The colours in the names are just for the use of humans as an indication, the fonts would not "know" that they are to be used in colours.
As a start of the experiment, just one letter, say M, could be altered in each of the four experimental fonts.
In each of them, the black grid lines would not be altered at all.
For the Mondrian Yellow font, the bricks for red, blue and black fills would all be deleted and the bricks for the yellow fill would be changed to solid bricks.
For the Mondrian Red font, the bricks for yellow, blue and black fills would all be deleted and the bricks for the red fill would be changed to solid bricks.
For the Mondrian Blue font, the bricks for yellow, red and black fills would all be deleted and the bricks for the blue fill would be changed to solid bricks.
For the Mondrian Black font, the bricks for yellow, red and blue fills would all be deleted and the bricks for the black fill would be unchanged as it is already solid bricks.
In use, the desktop publishing program would use four layers of the same text, in the various fonts and various colours respectively. The order is not critical, except that Mondrian Black would need to be on top so that the grid lines showed in black in the final result. However, I would tend to go from light to dark in the order yellow, red, blue, black.
The following might be of interest.
http://www.p22.com/lanston/jacobeaninitials.html
I still need to finish the original, that this was taken from, and add the extra glyphs to Mondrianish first ... a pnut's work is never done :-)
Sorry about the numbers ... I am in the middle of updating this font :)
Any requests for further glyphs will be duly considered :)
I cannot get further than a version of 4:30 pm yesterday that has the capital E acute and digits 0 through to 3 with the Mondrian style patterning and the other digits just in outline and no alternate S.
I notice that the version that I do have is just about one megabyte and I am wondering if the zipping process is refusing to zip a version that is more than one megabyte in size, so that only the latest zipped version is available for download?
Any ideas please?
I had been modifying the set 'on the fly' ... perhaps, in future, it would be better to 'unshare' whilst updating a font and then make it available again when it is finished.
Hopefully it is fully downloadable now.
My concern about a possible one-megabyte limit appears to have been unfounded, the present ttf file is indicated as being 1,316 kilobytes by Windows Explorer, which is well over one megabyte.
Some readers might like to know that the Alt code for E acute is 144, so the E acute can be accessed in Microsoft WordPad and Microsoft Paint.
Well done for persevering with the image formats ... good old GIF.
Consider me late to the party....but this is a fascinating interpretation of a favorite artist of mine. Your ingenuity is remarkable & I am both thankful & stunned I have never seen (or thought of) this much sooner!
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