Posts in category sans-serif - page 4
This 2020 BASIN production started as a discussion with Oli Wilkinson. He’s working on a Red Dwarf game for the Spectrum. Anyone into fonts who watches Red Dwarf (probably all 4 of us) know, Eurostile is heavily-featured throughout the show, from signage to branded Jupiter Mining Corporation goods (in ALL CAPS).
So, of course, I had to try Eurostile in 8x8 pixels. Some of the details are lost, and it becomes quite generic, like all 8x8 sans, but here it is.
It’s a very readable font suitable for all sorts of scenarios, including text adventures and long winding prose.
This font started life as a conversion of the 1973 Wang 2200 minicomputer bitmap font. What surprised me was how it relied on the phosphor glow to give a nice effect despite being laden with gaps. This is really how all good fonts are designed - by modifying the input so the actual output on a real environment looks good regardless of the input.
Alas modern displays don’t have a phosphor glow and even mid-80s CRTs don’t glow enough for this to look sharp however it did bear a passing resemblance to 9-pin dot matrix prints such as that on the Epson FX series.
I took the Wang font and tweaked the glyphs a look to look like the FX but a lot of credit for this font belongs to Wang and the unknown designer in the first place.
An early 2020 release that has sat languishing for some time before publication. There’s some similarity with Reynolds which has held it back but when you look at screenshots in both there’s quite a subtle difference in the font size and choices in edges and letterforms.
While Reynolds would look nice on the side of a starship this one would look better on a crate or munition in a sci-fi environment. It works quite well on lists and information screens. The bold variant works okay for prose as well but the lighter weights feel too stretched for comfortable reading.
Formula 1 is a fantastic exhilarating sport and I was very much a fan in my youth. Seeing the Formula 1 docudrama on Netflix with my kids got us into it again and I very much appreciated their latest logo and typeface.
As always whether I could do this justice in an 8x8 is the challenge. Given that I already have Orbiter and Submerged as very open wide rounded-corner typefaces whether it would be unique another was another concern. It’s quite a subtle shift between the two but the extra curves and that distinctive lower-case “a” make it almost worth it but when combined with a bunch of weights and widths it makes for a distinctive set when you need some variance.
It works well for titles, lists, and info screens. Large blocks of prose can be difficult to read without fine-tuning the spacing with a custom renderer or using one of the narrower widths.