Many alternates as I couldn’t choose between some letters variants, and because certain initial lowercases look better without that top-left swash.
~ Alternates ~
< - Alt. G 1
> - Alt. J
_ - Alt. A
@ - Alt. S
# - Alt. E
$ - Alt. F
% - Alt. G 2
* - Alt. d
) - Schoolbook a
] - initial schoolbook a
[ - initial a
" - initial s
/ - initial e
\ - initial o
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 Raysaninspired by loop de loop by ben17, x-height: two bricks.
Inspired by a Blackletter font in which I saw Art Deco qualities. The name comes from Norse/Viking mythology. It's great for headlines/titles and works nicely as majuscles for slab sans serif fonts.
No DL for this particular design but the initial font design will be tidied (has Latin & MoreLatin only) and made available before the end of next week.
I started this typeface out with the letter 'a', and from there slowly build up the other glyphs and came to realise it looks like a festive type. It's most likely due to the terminals being very angular and sharp, and that thought strengthens ever more so after I tried using it in Adobe Illustrator.
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 clone