by intaglio
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Clone of infrastructure trial.
16 Comments
Pardon my ignorance.
Unless you mean -- doh! I use charmap within Fontstruct. I'll have to go away and try that. You used to be able to use the numeric keypad and the alt key but that doesn't seem to work any more.
Thanks for the 10, by the way, I'm assuming that was you aphoria. This one had thalamic nipping at my heels all the way to try and make me stay honest, but it's such a struggle being a good boy.
I forgot about the ALT + numpad method.
I found these:
ALT + 0145 = Left curly single quote
ALT + 0146 = Right curly single quote
ALT + 0147 = Left curly double quote
ALT + 0148 = Right curly double quote
I don't think it's possible to use this method for the ligatures.
I'm not entirely sure about 2, 4 and 7 yet... maybe you could try to make them slightly more angled?
But apart from that: What the letter height in pixels here? You must have been scrolling your fingers bloody for this... I was already close to rampaging after doing eight letters for my first font that exceeds the fontstructor window yesterday... Really started hating that "pan view" tool. :P
@Frodo7: I doubt I could do a convincing condensed for this one. The overall width is governed by certain "shouty" glyphs like cap M, X, W. They already use the steepest incline, so there's nowhere to go for a condensed version. Believe me I've tried! I've discovered, through re-inventing the wheel, just why designers avoid this type of diagonal glyph in a modular face. It doesn't dissuade me from trying, though... it's fun to come up with hybrid forms that get round the limitation. (Only somewhat convincingly, he admits.)
@shasta: hah hah! Yes. I swing between nice compact grid schemes and humongous ungovernable vistas. Each has its charm; each has advantages and disadvantages. In the best of all possible worlds we'd be able to 'struct fonts that were both economical and elegant. I'm always pleased when people come up with designs that fulfill that promise.
A design like this demanded a huge grid because I wanted the freedom of spacing (where I start and end each glyph relative to the startpoint and right bearing) and the optical smoothing a huge grid gives.
thalamic had the nice idea of smoothing off the transitions between angles, but the grid is so huge the effect gets lost. I was a bit too subtle with it.
Yes -- the dreaded zoom tool. Maybe Mr Meek can give us a bit more leftside headroom in the next iteration of Fontstruct. Though that will only encourage users to create even huger landscapes.
I'm glad you took up the challenge. I see you as someone easily, handily able to do commercial fonts. The purpose of the challenge was to point you there. I know you have spent more time on this FontStruction than you normally do, but the limitations of the angled bricks restricted the "standard" typeface output (and I see that the urge to intagliate was too strong to resist in some places). On the whole, I commend you for trying to achieve the nearly impossible.
The challenge is not over yet, and will not be until you yourself claim to have reproduced The Times Now or a La Belle Garamond Sans Serifi. I should like to suggest a less frustrating smaller grid for the next go.
In the words of Bugs Bunny, "Ain't I a stinker!"
Oh, gorgeous 2, BTW. And you nailed that g.
I wonder how the hell you can get the control when all you can see on your overall screen is just a tiny bit of your letter. I need desperately to see the whole thing to understand what I do.
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