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Please enjoy a private clone to see how I dealt with contrast, curves, bracketing, variable letter width and the difficult-to-achieve emboldening of the capitals’ vertical strokes within a minimal fontstruct matrix (and If you like what you see, please download for personal usage and vote kindly! :)
Intaglio’s amazing recent work makes similar strides (see the excellent rounds, for example), offering a solution before me to several of these long-standing impasses of the medium.
More characters to come... :)
34 Comments
You are right about the alternate Ks. They came early in the design process and are fairly extraneous. I think the alternate Ss are interesting to look at because both spines (the diagonally sloping and the more sinuous one) are executable for both uppercase and lowercase – all in such a minuscule matrix. I think my default selections are the best, though it turns out my final selections are actually mismatched (sinuous uppercase, sloping lowercase)! :)
10.00001/10
Belated thanks for all the love, friends. Your investigations and input on how this one is fontstructed show you really care about my work!
I have been continuing to adjust the very fine details before delving further into the glyph space – it is quite amazing just how much subtlety of variation is possible with stackable composites.
The new binocular g is an interesting case, as it requires complex stacked composites that span fractional strokes in both axes.
I revised several of the caps. Most notably, I slightly extended the arms and emboldened the terminals of C, E, F, G, S, and Z. These last two experienced the most significant change, both growing suitable beaks. I think I have struck a greater resonance between the upper and lowercase with these revisions, and generally improved things. Let me know! :)
Marvelous slab. precision work WOW!
@intaglio, @Upixel: Thanks guys! :)
By the way, 50/10
How about a render from .otf command as the next level of expert control @meek? I know, also, you are working on it, so I will keep waiting patiently! :)
Also, the blog images reveal how this fontstruction was all kind of cobbled together as I tried out various combinations of stacked composites (sometimes one on top of the other) to achieve the proper balance of terminals, traps, etc. Very much like stone carving, or more precisely, creating hand-built pottery – with that very stoic skeleton as the base (cartesian grid). So far I had to work pretty hard for this one, all out of love and devotion.
And my deepest prayer still is that all the cracks in the pavement really point toward even greater depths of possibility. I imagine, as likely as me, someone else will surely find them; that’s why I make sure to enable the clone feature at every turn.
Thanks again for all the love and respect, my friends!
This is excellent by any standards ... let alone as the result of a modular construction.
I stand in awe of your mighty works :)
I will try again to come forth with some succinct illuminations (@geneus1 who’s also had to wait patiently on this one) about how I envisioned and attained these complex and unified results within such a small and seemingly impractical matrix.
The theory is pretty hard for me to reduce into a brief and accessible series of words that properly befit how the modules themselves speak such huge volumes via the simplicity of their actual constructions. Of course, translating their language is the key. Since it is a language of form and relationship (all mediated by the underlying selection of Cartesian grid), images really are the only way to bridge the gaps that cannot be easily intuited. Which mean making a blog. Which means...
BTW, what are "ink traps"?
Besides, they just look really nice, this font is a perfect example. Really cool Q.
Fantastic username, but can't see the point of such tall comment :S
@AFT: Aft66 Human Decay? Server 403'd. Private?
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