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This is preview of my fractal font (the name is temporary). I've used one of my recent work (Magor) as a template, and filled with a simple fractal pattern I've specially designed for this purpose. It took a lot of experimentation to finalise the right formula you can see now. Unfortunately the fontstruction is so large, it takes eons to make a single glyph. Download, however should work without a hitch.
14 Comments
I was always fascinated by fractal patterns, and thought it was a good idea to use them in type design. This is a proof of concept. To make it work I had to reduce the complexity as much as possible.
1. I've made a minimal design template font (Magor) with no diagonal elements. It is still legible.
2. I've designed a fractal pattern that looks intriguing, but simple enough to be used as a building block. Fractal gives "modular design" another dimension.
I know the whole project is a bit eccentric, but hell, we are here to try something new, unorthodox, and push the envelope even further.
I had an idea about this fractal pattern. It may represent a couple (bride and groom) and all their ascendants. Everybody happen to have two parents, four grandparents, eight great-grandparents, so on and so forth. As we go back to past generations, the number of ancestors grow by the power of two. At the 8th generation (this is the limit of my fractal picture's resolution) one has got as many as 256 progenitors.
It is tempting to contemplate that the number of our forebearers grow exponentially if we go back in time, yet the world's population showed a steady (also) exponential growth throughout history from past to present. Have you ever thought about how was it possible?
Just a thought I wanted to share on this freezing Sunday afternoon.
Your fractal scheme reminds me of the Fibonacci sequence (which he came up with studying a controlled reproductive rate of a pair of rabbits). The result is different though with 1 1 2 3 5 8 13 21... Your fractal scheme is following a binary growth. 2^n.
I didn't notice it before, but seeing this fontstruction's period in this new light, I see how you had to do a nice corner trick which has its ramification up to the center. Another example of limitations leading to creativity. I like it.
The Fibonacci numbers are related to the golden ratio (Phi). They might yield a different, possibly spriral pattern. It could be a solid basis for another experiment.
Your observations are correct: the corners were the tricky part, especially the inner ones. The other problem to crack was the thin gaps, how to accomodate them in a seamless pattern. Believe it or not, I started to work on this shortly after the abrupt end of my Gestalt (fragment) project.
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