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24 Comments
I had in mind the kind of font found on old books. This isn't quite right, it's too stylish and light. But I can take a few lessons learned here.
I hope I'll have this finish by the weekend (if my boss and my conscious let me).
Enjoy, and please comment.
One of the lessons I learned is that I have to construct the font around the "v, w, x, y, z". But I learned too late, I would have to retool all the other letters to do so.
Maybe next time.
I hope I can impress you more with my next project.
And I daresay, you've learned all the areas of quicksand that Fontstruct leads us into if we don't look we're we're walking first! I say this mostly to myself -- I'm always being swallowed up in some new treacherous ground I thought was safe.
My interest in typography originated when discovering other more exciting ways were possible, some of these also became classics and are very much used in the world. For me the only real "classic" font to deserve the masterpiece appellation is the marvellous OCR-A which in fact with its scientific technical approach broke all the barriers of its predecessors and created what I could name "a new form of beauty". OCR-A is really the only font I can see everywhere and not being bored or annoyed. But it's surely the exception. Generally all of the other mass-used fonts have so many compromises to deal with they can only be so much restrained esthetically that any strength disappears, I am still intrigued that a so much extreme font like OCR-A could become one of these mass-used fonts, maybe because the compromises were linked to technical computer machines limitations and not to human brain !
I agree about Arial. And I think Helvetica is far better.
TERREMOTO
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