kostal's picture

I made this font during a course at Columbia College Chicago and as the image below explains each character contains thousands (or at least hundreds) of points. This made it difficult to work with so I'm making a new one based off of outlines I'm drawing from prints of the old one. Also am making it a bit heavier in the process. Interested in your impressions and thoughts (especially things like where this font would be appropriate or things it might remind you of).

What I might do is make some of the character more normal (like the B and J) and keep the current ones for use as alternates. I'm not sure how far I'm going to take it really, I'm just using it in my quest to really understand the beziers and so on.

brampitoyo's picture

What is your inspiration for this typeface?

Does your IVE have a ' stuck between the I and the V, or is that the V's hook that I see? You might want to be careful with the spacing, if that was indeed the case.

tonicastro's picture


Maybe the width of the characters is a little bit irregular. The C, F, K, P, Q, T, Y have the width quite regular and the rest of the characters not so much. I think it would be better all regular or all irregular. And I agree with you, B and J are too much different.

Goran Soderstrom's picture

Kostal, don't give up your old font (the thinner version). There are ways to optimize the points so it gets more user-friendly. I like the thin better actually, it feels more free and alive.
If you go through the whole alphabet, optimize the points (and take away some points aswell) and where it's possible use straights instead of curves - the font will definately work better.

I would on other words, try to "clean" up the old font aswell. It's looking very nice.

kostal's picture

thanks for the comments everyone!

bram, the inspiration is actually just a lot of sketching, both digitally and naturally (with both brush and pen). no apostrophe, i just recently got the uppercase in and i'm working on getting the lowercase in now.

toni, it is supposed to be somewhat irregular and i can definitely see things i want to tweak but i want to do the lowercase before i start tweaking those again.

goran, i'm actually not sure how i would go about doing that. see the original letters were drawn as a mono width and then had an illustrator brush applied, expanded and then imported. it's quite daunting to think about cleaning it up. maybe you are right and i shouldn't give up. it's just like working with an image that's been live traced, i don't know where to start since i didn't make any of the points. maybe i should just quit thinking it's daunting, eh? afterall that's what finally got me using the pen tool.

what kind of designs do you guys think either of these fonts would work best in?

brampitoyo's picture

I agree with Goran, your typeface feels alive because of the many points, twists and turns.

So I have a totally different suggestion. Like J.F.P.'s kerning table, why not take your bezier points and push it to the limit? Today's computer, I believe, can handle such loads. Just make sure to remove the really unneccessary points, though.

To answer your question, I can see your font used in a postmodern piece of design (a la Neville Brody, etc.)

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