Tomi from Suomi's picture

Spurless started with a name "Polyester", but with wrong connotaion is now with a new name, and also with italics.

Spurless Book and Italic sample.pdf406.71 KB
blank's picture

I tried a similar experiment last year and found that the abrupt spurless stroke intersections clash with the humane qualities that are needed to liven up the design. I’m seeing the same thing here; there’s some dissonance being created by letters like u and r and the italic k.

Tomi from Suomi's picture

I'm with you on 'k', but with 'u' and 'r' I think it works. I'm now thinking of more oblique rather than italic style, that's why 'a'. That 'k' was something of a tryout…

The reason to study this kind of design was that I've never liked any of them; most of them have been over-designed, with weird 'y's and'k's, or rounded corners to hide the flaws and such.

So I try to make a working one. Let's see how it goes.

Stephen Coles's picture

I think your 'u' and 'r' work. The 'p' is too heavy where the bottom of the bowl meets the vertical. Starting to like the forms, spurless or not. Your 's' and 'e' are very lively and balanced.

nina's picture

Is there a specific reason why you're using this same (and very idiosyncratic) double-story "g" form in so many of your fonts?

Fontgrube's picture

Looks a bit like about to be falling over backwards :-) Andreas

Tomi from Suomi's picture

That is a good question, Ms Stoessinger. That glyph has been my favourite for a long time. But you are right; I've strayed way off from this:
I started with pretty basic Gill Sans-style 'g's (http://new.myfonts.com/fonts/suomi/tang/), and went all the way to those overly wonky ones. But it is indeed one of my favourite glyphs. I'll give it more thought in the future.

Syndicate content Syndicate content