Posts tagged with adaptation - page 2
I created this font in 2019 in BASIN as an adaptation of the ITC Benguiat typeface.
Benguiat was heavily used in the 80s on Stephen King novels, “Choose Your Own Adventure” books, and Star Trek shows and most recently made a headline appearance as the red neon logo in Netflix’s love letter to the 80s - Stranger Things.
Adapting this particular typeface into 8x8 was quite the challenge and it went through many many iterations at one point I almost caved and considered dropping lower-case but I’ve always felt that’s a total cheat. Thankfully it got to the point I felt more confident and showed a screenshot to professional font designer David Jonathan Ross of Input, Fit and Font of the Month fame he guessed it was Benguiat first time.
This font works great for titles, text, and prose and also still looks great with a regular mono-space renderer.
Adrian Frutiger designed OCR-B for Monotype in 1968 as a more human-friendly alternative to OCR-A now that machines were getting better at optical character recognition. It can still be found in use today on the bottom of bar codes and the machine-readable part of passports.
This liberal adaptation I created on the Sinclair Spectrum +3 using Artist II in the late 1980s. Given the lack of strong visual cues it could be easily mistaken for a nice sans-serif although the numeric glyphs still shine through.
It is suitable for any scenario where a clean machine-influenced look is desired.
The Times font, and especially its more recent Times New Roman update, are ubiquitous being standard on pretty much every platform under the sun.
Designing this font in 2018 the challenge was developing a bold serif in 8x8 that didn’t just look like a generic bold serif but retained the style of Times. Between the oval 0, the double-story g and subtle contrasts on angled lines.
The font works well in many scenarios where you want a bold, formal look.
Can be seen in Corey Coolbrew.
I created this font in 2019 using BASIN and it is based on the System X3 font by Paul Prue. It takes the concept of the magnetic ‘bump’ and puts it in unusual places with extra dots and unexpected curves and lines. The result is something quite aggressive and bold.
It works well for titles and small amounts of options/list screens but should not be used for large runs of text or prose.