by Frodo7
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Clone of Gimli Regular.
13 Comments
@meek: Thank you very much for the special mention and TP.
@Structifier: Well, consistency is not a bad thing in the business of modular type. As a consequence of minimal design, letters shed all nonessential detail, and look more uniform, more similar to each other. I feel the need too, for an alternate Q without descending part. I'm working on it.
@p2pnut: Thank you for your comment and generous rating. This font is just started to mutate and evolve into a larger family. I've spent several weeks to lay down the groundwork on square paper, so everything should fit in the end, well, more or less.
[A typeface is a system in itself: a number of individual characters are designed to relate to each other to perform rhythm and consistency – a carefully balanced relation of form and counter form, black and white. Hermann Zapf once said: “I could try to draw each letter so that it stood in graceful relation to the other twenty-five.” While less than 100 glyphs within a single font (a California Job Case consisted of 89 compartments) was common at the time of his statement (1965), over 1,000 has become a rather usual number of glyphs in recent years. What’s more, the demand on this system of relationships immediately increases with the designer’s decision to add further weights, widths or styles. Each glyph then has to successfully function in additional variations, which all share basic characteristics to form a harmonious and consistent visual system.
There are different concepts of such visual systems in type design. This can be anything from a series of widths to a typeface with a spectrum of more than two or four weights (regular, bold and respective italics used to be common) to establishing parameters which allow for an interrelated combination of different styles (mixing sans with serif or with slab or any other hybrid version of these). In an article like this one, there is of course no escape from Univers. Many agree that this face designed by Adrian Frutiger and released by Deberny & Peignot in 1957 was the first to appear on the market as a coherent system and it was in fact planned as such at the beginning of the design process. According to Erik Spiekermann it was Adrian Frutiger who first followed the principle that type design is placed in the “context of planning rather than following an artistic stimulus” in exemplary manner and that it was he who first saw a type family as a closed system in which several weights are combined without “aesthetic compromises.”]
Exerpt from a long essay by Ferdinand Ulrich: From compressed light to extended ultra /
Visual systems in type designs (26th Aug 2014)
http://next.fontshop.com/content/from-compressed-light-to-extended-ultra/
@janking: No offense at all. On the contrary. It's a praise to compare my work with such accomplished typeface as Hopeless Diamonds.
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