FRESCHER - 'Impossible figures'-inspired display type
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Inspired by some of the poineers in this field:
Oscar Reutersvärd, Maurits Cornelis Escher and Roger Penrose
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It's only a small font, that mainly covers the Basic-Latin set.
There is a full(Uc) / (Lc)letter set, numerals and a bare minumum of symbols & punctuations, that allow at least the ability to include some form of basic structure or to clarify the meaning of a text.
I decided to keep the character set small but functional.
Designing a full multi-lingual set of accented letters accompanied with extensive support for symbols & punctuations as well as doing so within the framework for this type of decorative and complex stylistic concept seemed pointless to me due to a number of reasons.
Stylistically speaking for this type of designs it would be highly unlikely it is ever going to be used for large chunks of Body Print. Which is the primarily the only reason for including profoundingly deeper levels of typographic support into a typeface.
FRESCHER's strong and unique decorative appearance means that its is primary a Display font that should only be used for titles, headlines or for small amounts of text at large sizes and conceptual purpose artworks for media, posters, logo's/branding or advertisements.
Another thing is, that given the decorative complexity and conceptual nature of this font, the number of directions into which a certain character-design could be taken succesfuly and still remains to make sense, as well as fitting within that syle framework of the font at any time was drastically limited to only a small few.
Its for those reasons that I rather choose to keep things for FRESCHER simple and effective, rather than I would go through great lengts in order to try and include tons of half-ass and poorly designed extra's only because I desperately was trying to succeed in constructing these into that same 'Impossible geometry' -concept style.
Not to mention that I have a far to incapacitating forms of O.P.N.D. (Obsessive-Purist-Nerd-Disorder), to even think of ever going there.
I'm pretty sure that without a large characted set that would allow it to jump head first straight into "Typographic-'Never-Ever' Land", this severely limited package is more likely to encourages it being used solely for its decorative purpose. In response this automatically forces greater awareness for the strong 'characteristic' qualities of the font.
Whereas massive 'multi-lingual-o-graphic'-typeset materials would have only paved the way to certain areas in which this font isn't supose to be used for to begin with.
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Aaaand,
If, there for whatever obscure personal reason a specific character or symbol that still is absolutely mandatory to have included in the character set as well, just request it in the comment setion bellow.
I'll be happy to design it for you on demand!
For now,
Enjoy!
This is a cloneA multi-line design which is slightly reminescent of mazes/fingerprints. It's not designed to create functional mazes, but it is somewhat capable!
"Absinthelyric Print" is an anagram for "Labyrinthine Script".
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Original size: 11.25pt. Use multiples of this value for pixel perfection. (If you use antialiasing, it will look perfect at most any size.)
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Design rules:
1. Square bricks and 90-degree angles only.
2. Alphabetic glyphs must have open terminals; numerals and symbols must have closed terminals. Letters which do not terminate (D,O, etc.) must be broken so that they terminate.
3. Glyphs must fill the 15x15 grid.
4. Ligatures and combinatorial glyphs must fit into one letter's space.
5. Draw from the outside in.
Just testing an idea. So far it has given me 2 eye aches ;) and has worn down the Fonstruct eraser to a small chunk. I'll add some more glyphs when Meek has put a big jar of new erasers into the Fontstructor :D WIP
"Mythical Bursts" is an anagram of "Bismuth Crystal". The design is inspired by said crystals as well as Mayan/Aztec carvings (or at least, the comparatively simple forms they have in popular media) and sgraffito art in which a surface is scratched off to reveal a contrasting material underneath.
12SEP2018: I've edited every glyph in order to disconnect the letterforms from their enclosing shapes. This makes the font much more readable and consistent.
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Original size: 42pt (use multiples of this value for pixel perfection)
A design that looks like a top-down view of ziggurats!
I composited the diacritics so they'd fit into place, but this means that most anything non-English needs to be pretty large to be unambiguously read...
Still mulling this one over.
Another example of glyphs acting as the counter in a space, and this space filling the usual "glyph's white space" in the way the counters were described for the competition.
A doodle made with Brick Basket.
This has many uses! It works as a pixel font or a high-res one, and can generate a surprising range of visual effects.
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See also:Psycho Wave
Some puzzling boxes, indeed! These are named for Lemarchand, maker of the puzzle box which appeared in the movie series "Hellraiser".
This design has a variety of textures and optical illusions up its sleeve. See the sample for a few of them.
Original size: 47pt (use multiples of this value for pixel perfection)
A stencil design in which diagonal cuts are used to imply angles and curves. It does not quite obey the rules of a segmented display, but it tries its best!
This is inspired by some text I put on the side of the Sheepslayer Mk.2, a flying dragon car piloted by Lyll "Hatch" Soretti in my game Seven Candles.