thoughts or criticism welcome:
Really nice & coherent specimen! But what happened to the 4? G.
Hi Andrew, Ive made a very quick Pix to show what i meant. Jacques
it is maybe diﬃcult to see, but i made 9 a’s with 9 diﬀerent stroke thickness. This leads to a kind of grayscale. I used appr. 30° angled strokes. And the distance between the strokes i in all 9 a’s equal. This is the principle I meant.
Rodolfo, the changes you’ve made work well for me, especially the ‘d’ which is a great improvement — same with the two ‘y’ characters… I think I’ll do more ﬁddling :D Jacques, I see what you mean. I doubt your idea would be possible for me — although it’s worth trying, if only for the fact that it would be impossible ;)
It seems nothing hasn’t been said, this *is* a very nice face. One thing I appreciate the most is that while it may qualify as a bitmap font by construction, because of it’s color it is very readable as well as legible due to the fact that it does have a somewhat humanist bent. Very nice. — As for usage, what about mobile phones or PDAs?
Hmm…is that font actionscripted or just straight drawn Fonthausen? Very interesting idea if actionscripted…I have long thought of making a non-bitmap actionscripted font. This could be done using just lines and circles… Matthew
Matthew, to be honest it is just drawn. But your Idea is good. Or for print, we could think about MM! Jacques PS: waarom kan ik jouw website Nederlands instellen? Ben jij nederlands, of spreek je het misschien?
This looks good. Fine work. What I like about the idea, even if it wasn’t ment to be, is the way this type becomes a colour (gray) of its own. Interesting would to combine this with a text type. In which you experiment with the width and the distance between the ‘lines’. You could even try to make a family with for example 9 wheights (10% gray, 20% gray, etc….) Jacques
And have a “base” font too, for coloring. hhp
it looks like an interlaced gif halfway downloaded. its great. was that the intention?
It’s genius, Andrew. Like the work on your site it is both technocool and useful. Splendid. I don’t see anything wrong with the ‘4’, but I’d like to see a ‘y’ with a tail like the ‘g’s tail. Do not give this font away. Stephen
Nice, Andrew. Interestingly, I’ve done something very similar some time ago: In my case, it wasn’t exactly a “scanline” font, as I used both odd and even lines as I wished. It was made for a small project, and I didn’t bother then to design all characters, only letters and numerals. Also, some of these characters weren’t really worked up, as they wouldn’t be used at all. I like the narrow ﬁt of your characters, and the color is quite even. regards, R
Andrew, nice stuﬀ. BTW, it reminds me a little of those letters on clothing/towel tags and such. –- Rodolfo, what about that font you used for your typographi.ca banner? (V2000?) It looks interesting, like it has *vertical* scanlines, and it’s made of two fonts that combine in diﬀerent colors or something… Wazzat? hhp
thanks so much for the replies Jacques — I don’t believe I fully understand what you’re saying — but what I think are your ideas are interesting — I’d imagine transposing the ‘texture’ of this font under a diﬀerent / more typical screen font could maybe lead to some surprises. the font came from a few diﬀerent ideas, most prevalent was the old DOS boot-up screen font; I’m pretty sure that has the same ‘scanline’ look to it. also old fonts that worked w/ dot matrix printers… anyway there’s gotta be at least a few fonts like this already in existence… like rodolfo’s ;) found the limitations in making this font to be interesting though, which is pretty much why I made it.. I deﬁnitely agree with you stephen about the ‘y’… sticks out like a sore thumb actually again thanks very much for your comments and ideas. it means a lot, I don’t know what I’m doing :D - andrew
Andrew, make Paul Rand with his striped version of City for IBM the ﬁrst of us. ;) Your face has merits, mine was an incomplete one-oﬀ aﬀair. About the ‘y’: what’s interesting is that you’ve achieved almost an italic construction in letters like b, g. Quite a feat, considering the constraints. You should try to obtain the same suppleness in other characters, like the y that’s been mentioned. Just as an experiment, I’ve tried two alternatives to your y: I’ve also ﬁddled with the v and the d (in the word ‘traded’). You could try to ‘italicize’ more your design (italicize, not slant ;) >Rodolfo, what about that font you used for your typographi.ca banner? (V2000?) It looks interesting, like it has *vertical* scanlines, and it’s made of two fonts that combine in diﬀerent colors or something… Wazzat? Hrant, that ‘font’ was done in fact for print. It was a set of pseudo-bitmaps I designed to use in a poster. The idea was that odd and even “vertical scanlines” were diﬀerently colored — but with some “pixels” out of place according to letter structure (in the case of the typographica banner, *many* pixels). This construction principle allowed diﬀerent shapes to emerge. I think I have an image of the thing as it was used somewhere. If I ﬁnd it, I’ll post it. V2000 was a codename (the poster was called “Verão 2000”, which means “Summer 2000”.)