I'm just remaking an old font, SF Work Sans.

Taken from _Priscilla Juniors' Cross Stitch Book_ byThe Priscilla Publishing Co. (1914).  Orginal only has minuscule.

  https://archive.org/details/PriscillaJuniorsCrossStitchBook/page/n31/mode/1up

Clone of "Rounder"

The standard font sets of the HD44780A00 and UA02 combined, using only the 5x8 characters, and preferring the UA02 ones where there are differences between the two sets (the cent sign for instance). Characters with dual or triple purposes are filling all of their potential slots.

Note that the following 'basic ASCII' characters differ between the -A00 and UA02 masks of the HD44780: 'A', 'S', 'g', 'i', 'm', 'w', '[', and 'ェ'. As of the update on 20201127, all of these in this font are using the UA02 version.

20231122: Now that FontStruct supports characters outside the Unicode BMP, I added the "Bell" character. I also added the Cyrillic Capital Yu, which I'd somehow overlooked. Thanks, ewpa, for pointing it out.

Collection of linear-interpolated circle attempts, or simply faux-Bezier circles and other curvature related materials.

This toolset basically is collection of pre-made fake circles and curves in numerous different sizes to make ones workflow easier. It could also simply serve as a educative tool that demonstrates the basic FontStruct technique used for making fake curves and circles.

Initially I intended this to be much more complete, but it is simply too much work, and would take forever to get published at once.

Please don't expect this to be perfect, a lot gets fairly close to the "real-deal".

But keep in mind that they remain raw approximations of their true Bezier counterparts. I will try to improve whatever is needed as time progresses, as well as most likely add more stuff.

--- No filters were used ---

I hope you like it so far,

Feel free to copy, re-use, improve or even destroy!

enjoy!

====[ EDUCATIVE INTRO ]====

At a time when making books was a very time-consuming and labor-intensive process, an increasingly literate 12th-century Europe required more and more books. To keep up with the increasing demand for the spread of literature was a ongoing struggle. Writing materials such as inks, dyes and parchment were very expensive. And it wasn't until the 15th century, when parchment was largely replaced by paper, along with the arrival of the printing press, for it to gradually became cheaper, faster and less labor-intensive.

So it made perfect sense to find other ways to help with this process.
Simplifying a script and cutting back on the decorative calligraphy was the most effective way of doing this.

This led to the development of simplified variations to pre-existing bookhand scripts. One of such forms is littera textualis, categorizing within the Textualis/Textura or simply Gothic bookhand scripts group.

Littera textualis is the simplest and least calligraphic form of textualis. It was developed with just two main goals in mind, to save time and costs. The simplified letterforms could be written much quicker than the more calligraphic and luxurious variations. It offered a more cost effective and faster version to the script. It was often used for less important literary works and academic papers.

It functioned as the standard bookhand script in the Netherlands during the 14th & 15th centuries.

====[ ABOUT THIS FONT ]====

TEXTUALIS BATAVICUM - A calligraphic inspired Blackletter/Gothic bookhand script. Essentially a Textualis/Textura inspired work.
The design mainly follows the concept for a traditional form of littera textualis bookhand script as was described in the intro written above.

It remains a work in progress and I will add update info for this font in the comment section bellow.

Some character still need slight adjustments, but so far I am very pleased with the result. As you can probably notice, the uppercase characters have slight more weight than the lowercase has.

More characters follow soon.

I hope y'all like it

An experimental pattern-fill design. Check it out at 2x Pixel size!

Supports Dutch, English, and German at present.

What began nearly 8 years ago as an experiment in multi-stage, multi-resolution pixel serif type drafting (starting smallish then manually upscaling x4), took on the robust character you see here after countless edits and some tricky lessons learned along the way.

The initial weight was on the light side (cloned privately for posterity), so I took a leap into this bookish weight by fattening each glyph copy-pasted 1 pixel shifted both up and to the right. A rudimentary technique, by no means novel, yet almost wholly effective. I saw fit from here to only make a handful of corrections, keeping the slightly rounded and slanted serif shape that resulted as well as the subtle reenforcing of a pen-nib construction. 

More intriguing is the 1-bit “anti-aliasing” scheme I found myself  progressively guided toward while finding the lines of these curves developing the initial light weight. Implied diagonals and said curves – as well as refinement of contrast – are substantially more granular and specific than had I taken a black-and-white posterized, or stairstepped approach.

At half-resolution, the resulting smoothness is acceptible. This type of hinting will be useful in developing a substitution rule set consisting of subpixel slanted or curved bricks to produce a “vectorized” version.

Indeed, such a process could be purely automated by a proficient developer or properly trained neural network (this would be a really interesting future feature for fontstruct pro – rather than hinting a font after painstaking vector construction, why not reverse the process by way of en vogue ai-assisted upscaling?).

Basic accented charaters and numerals are being added as I churn through the extended character set...

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... :)This is a clone