high contrast script

neverblink's picture

Even though I have two other fonts 'in development' (here and here), I just really enjoy drawing characters and I wanted to share the outcome of a recent doodling session with you.

A hard high contrast script that takes inspiration from cursive frakturs, old penmanship -- but with a sharp twist. Which, in turn might have been influenced by Underwares take on blacklettering with Fakir.

a-z + ß

Frode Bo Helland's picture

This looks really interesting. You might want to check out Linotype Gneisenauette.

neverblink's picture

Thank you Frode.
Your request for an id on the script in the New Work Magazine was probably the trigger that made me draw this. I had taken a look at Linotypes Gneisenauette, but found the contrast too low for the sample you provided. But it was the contrast I liked in the image you posted, so I decided to go ahead and create something myself (combining it with the sources mentioned above). Hopefully creating something unique enough to differentiate from Gneisenauette.

Frode Bo Helland's picture

How nice. I'd love to see how this turns out.

Some trouble spots: x z y k

'n' and 'm' should probably be wider, and I think you should consider using the same right stem for 'h'. 'u' and 'y' also curl inwards, which seems a bit wierd.

neverblink's picture

Above is old, below is new;
Wider 'm', straight 'u', straightened the 'z'

Above is old, below is new;
Straight leg for 'h', straight 'u', wider 'n'

I agree the 'k', 'x' and 'z' might look a bit too 'constructed' at the moment, but I havn't found a solution for those yet, although I think the straightened 'z' might be a step in the right direction.

Quincunx's picture

I think it's awesome. :)

juhani's picture

Very fascinating script. There's a very appealing irregural rhythm to it.

I think there could be a bit too much stress on the upright strokes, though. There's not much distinction between 'a' and 'u', for example. The loop of the 'e' and the curve of the 'c' are also a bit difficult to see.

Why are the 'h' and 'n' different in structure? I would prefer a similar arc in the latter as in the former.

I realize a part of the visual appeal of the script is in its stroke-contrast, but it could be a bit more readable if the hairlines were a touch thicker. (I don't mean as thick as in Gneisenauette, though.)

neverblink's picture

Sorry, I hadn't noticed someone replied here.

Thank you for the comments.
I agree that the hairlines should become a bit thicker, which might also help the 'c' and 'a' become more easily recognizable as such.

The difference between the 'h' and 'n' is due to the 'm'. The 'm' doesn't work with the inward bend on the last stroke, so I tried and outward bend there. Then the 'n' had to be a close match to the 'm', so got the same outward bend. That whole outward ebnd might not be working very well, because it is only used in 'n' and 'm' as outward, while on other characters 'a', 'u', etc. it is used as inward. Which might confuse the reader.

I find it hard to proceed with this script, though. Especially because of the right-tilted brush-stroke. If anyone knows of any examples of scripts with a right-tilted brush-stroke, please let me know.

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