ORIENTFAHRTEN (Pro) — Semi-connected script-style font design
═══════════════════════════════════
Losely based on the lettering that was seen on a 1929 poster design by German painter Ottomar Carl Joseph Anton (1895-1976) for the “Hamburg-Amerika Line”  * (click for image of the original poster)

Whereas the original (non-Pro)-version aimed at extracting that “stylistic essence” of the lettering, and made an attempt at extrapolating and restoring a full alphabet from the letters provided by the original poster.. And so, that basically became sort-of a font revival with a little extra's.

ORIENTFAHRTEN (Pro) then took this to a whole nother level.

This reformation wasn't guided by Ottomar's original poster-lettering, but rather a remodeling and amelioration of my initial work.
Many glyphs were fully re-invented, others only just partially improved.

In addition to this, many new things were introduced as well.

For example, the font was further ornated with various typographic elements and bits, reminiscent of calligraphic hand lettering.

Turning this into a much more attractive looking little novelty.

Also some “technical” restructuring of the Unicode character mapping, to creating more user-friendly text formatting properties.

Since it is a semi-connected script, certain characters were deliboratly disconnect and some weren't.

For example, the uppercase letters almost all disconnect, whereas the majority of lowercase letters will connect by default. A set of glyphs alternate forms was included that allow to break the 'connected' flow of a text.

These also function sort-of as “Contextual Substitutions”,  but without OpenType's automated glyph-stream lookup classes. Yet these do allow the manual control over word-endings and word-space situations. So when a default-glyph is followed by a white-space, a glyph-alternate form could than be selected to replace the default-character encoding and improve overall aesthetics and natural flow of text. These substitutions are located in the “Halfwidth and Fullwidth Forms” and “Private Use Area's” Unicode blocks. In addition to the default alphabet letters the font also includes numerous symbols and punctuation marks, as well as ligatures.

As for the “numberscomp” that is currently in progress:

This font was specially fitted with 5different schemes for text figure arrangement.
 • Didot-(old style) non-lining (font default)
 • Traditional-(old style) non-lining
 • Clean-(modern) lining
 • Tradidotional-(old style) non-lining
 • Ornate-(modern) lining

— This does temporarily create a new problem for me though... As this would be my fourth submission to the competition, where a maximum of only three font submissions is allowed. Now, which of these previous entries am I going to eliminate?!

I hope you like it,

Cheers

I love these kinds of fonts that have geometric puzzle-solving quality in the design. I was quite happy with how the lowercase found a way to be connected. Then I thought let me not mess with anything else. But a Z is so much like a 2, so I created the 2 out of the Z. Then when 2 was done, I was aprehensive of tackling the 1 because the vertical stem would be off by one brick, and how would that be resolved. Reluctantly I tried it...and it worked. 3 can be created from the B, but the B hasn't been created yet. OK, I guess I have to do the uppercase. A was easy. B was surpringly easy. Which gave me motivation to go on. And surprisingly soon, the whole thing came together. The hardest letters to shape were X and S. Not all letters are very successful, but they are distinctive enough to be recognized as themselves. Not sure about the =, but it will do, I suppose. In any case, no kerning required.

A cursive-esque, sort of hand-drawn font. Really had some fun stepping out of the usual font styles and explore with these cute little loops and swirls. Please enjoy~

With this font I am late to the competition, but I still love Art Deco a lot.

Another "2-in-1" fontstruct. To obtain a chained word, please write their letters using only the uppercase (= with connectors) and use the lowercase (= without connectors) to finish the last letter of your word. E.g.: HELLo. The lowercase works like a traditional font too.

simple cursive pixel font

capitals are for connecting after a letter with a stroke ending on the median

real capitals are at unicode spaces 0040-007E

A wicked track-looking font with every letter at least has a 180-degree-flip pair. Perfect for ambigram.

" ( " for left line cap

" ) " for right line cap

"space" for extending the line 

It's Summertime! You know what that means: no school and more time to work on stuff I love to do, like this! Just found out about this new feature and decided to make a quick font out of it!

I saw the logo for tramplin.tv [pictured below] a loooong time ago and was fascinated by it. It used to live on my computer desktop so I can look at it frequently. Even thought to redo it in fontstruct but...just looking at it, it was clear it wasn't doable...at least back then. At some point, the image was moved off to some other to-be-filed folder, and eventually I forgot about it.

I found it again the other day while hunting for some other file.

It was still fascinating. And in the meantime, fontstruct had grown up considerably (Thanks, Rob!). It was time to attempt doing it.

Well, kicked my ass, didn't it.

It seems so simple: One diagonal that goes from one letter to another in smooth transition, bisected by a different angle diagonals. No. Easy in concept, killer in making the geometry work of 2×1 diagonals to 1×4 diagonals.

No matter what thickness of diagonals were selected and whatever the gaps were left, the angles would not line up at some point or another. Which was confusing as 2 goes into 4 exactly 2 times, so things should have lined up without complication. I remembered, many years ago kix used Transparent Windows utility to make the browser transparent so he could trace silhouetted figures for one of his brilliant fs. Even tried tracing. Nope. After many failed attempts, had to break out Illustrator to better visualize the grid and diagonal guides of my own.

[See picture below]

Figuring out the geometry was much simpler in Ai. Found out where I was going wrong. First attempt at doing a and m and making them line up worked like a charm. From then on, it was just a matter of doing the glyphs. Some of them were simple to execute; others like e and c and especially z were quite difficult...at least for my limited intelligence.

Anyway, here it is.

Disclaimer: The original logo is probably copyrighted to someone. I don't own the rights to it. It is displayed here for comparision purposes and for full disclosure. If the owners of the original logo have a objection for its display here, it will be removed immediately.