Posts tagged with adaptation - page 3
The original Palm Pilot went on sale in March 1996 and sported 128kb of RAM, a 16Mhz Motorola MC68328 processor, and a tiny 160x160 monochrome display. Such a low-res display necessitated a small bitmap font, and the 16MHz CPU meant they could easily take advantage of proportional rendering to squeeze even more on-screen.
The crispy clean font they came up with remained unchanged through many years of Palm’s success across many devices until the platform moved to Windows CE.
I recreated the font using BASIN, and it is almost identical except for a few tweaks to the descenders. I transposed both the regular weight and bold weights. To take full advantage of these fonts, you should use a proportional renderer such as FZX.
Introduced in 1937 Peignot (pronounced Pen-yoe) is a classic font with a distinctive lower-case that consists of mostly restyled capitals. A revival in the 70s and various TV shows through the 80s and 90s, including the first three seasons of Seinfeld, brought it back into the public eye.
I created this font in 2019 in BASIN as an adaptation, and it fits surprisingly well.
This font works great in a variety of scenarios but certainly exudes a classical French style.
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. Most recently, Benguiat headlined 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 going through many, many iterations. At one point, I almost caved and considered dropping lower-case but persevered. 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 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 today on the bottom of bar codes and the machine-readable part of passports.
I created this liberal adaptation on the Sinclair ZX Spectrum +3 using the Artist II in the late 1980s. Given the lack of strong visual cues, it could be easily mistaken for a sans-serif, although the numeric glyphs still shine through.
It is suitable for any scenario where a clean machine-influenced look is desirable.