Upgraded version of Aenvidere (which is the original 'normal weight' version) made for one of my grandsons. The glyphs in this version have lines of different thicknesses which seems to make them and any text more interesting to look at, yet it continues to be elegant.
Numerals are taller than other glyphs, I wonder if a larger letter space might 'integrate' them more when used in a line of text?
Kerning has been done where necessary = on very few pairs: T+some LCs and F+some LCs but not yet on T and F with the corresponding diacritics; also done are TJ and LT. The "f" has been moved in the grid, and "f" and "l" have adjusted letter space. I think that the shape of the glyphs (with and without adjusting their positions/letter space) reduces greatly the need for kerning. Having said all that I'll print some text to check and will adjust kerning where necessary ---at a later date.
This is the most advanced version of Aenvidere (due to kerning), the other published versions will be kerned at a later date. I'm showing them nevertheless so that you can compare versions.This is a clone of Aenvidere
Thicker lines than Aenvidere AGardin. This is quite chunky. Yet it remains rather (good looking and) elegant. Kerning has to be done (check details of this in the font description on Aenvidere AGardin)This is a clone of Aenvidere Stilo
Aenvidere (the normal weight version) still needs fine-tuning and kerning, still. That will come, eventually :) At the moment I'm quite busy doing too many things concurrently.
Check the font description for AlexGar-Aenvidere for details.
At a later date I'll publish a squared-off version of this. Aenvidere SQ will have the same glyph style but will be wider than the other versions which might make it less useful as a "tool" to attract attention when added as splash insert in text that uses another Aenvidere version.
Inspired by the works of regular_one. Unlike most fonts I've released recently, many of the glyphs had to be modified or even redone from scratch.
- M, W, m, w, @, #, %, <, >, ~, and the circumflex above accented letters were all too wide and had to be condensed;
- I, f, i, j, l, r, and t were all too narrow and were expanded a bit, mostly through the careful application of serifs;
- K, M, W, X, Y, v, w, y, 7, /, and \ all had ugly mixes of angles that needed to be redesigned;
- N, *, (, and ) were completely redesigned, and many more touched up, to fit better with the rest of the font.
Most of the edits made were not possible before nudging. It's still not perfect, but it's much better than it was before, and I'm proud of how much it has "grown up". Of course, suggestions and critiques are encouraged. Thanks and enjoy!
A font in the "Compass" group which I started a few years ago and not finished yet. Living in Western Europe I wanted a swingy-light-rounded looking font for "West" on the compass to celebrate the gentle hills and open spaces around my home in France.
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...?
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
This was inspired by rocking chairs ... a font that leans one way or the other or both, without being italic.