Posts tagged with family - page 3
I seem to have this knack for creating a font based on memories and when I compare it to the actual thing it’s quite different. This happened once again with this font which I thought I was drawing in 2018 in the style of some text I’d seen in Firefly and Serenity and so named it Reynolds after Captain Malcolm Reynolds. Searching online shows no such typographical style in Firefly at all!
This is a semi-futuristic font that would look good on the side of a starship though.
A 2020 creation for a very bold square oblique font reminiscent of many a computer and games advertisement in the 90s once the 70s magnetic-OCR styles just couldn’t cut it any longer. A very similar typeface adorned the Protovision advert that was the story catalyst in the movie WarGames.
I added two non-oblique versions to compliment this typeface as part of a set - Serif and Regular - however, they are both quite similar to the existing fonts in the collection - Tentacle and Precinct but these versions better align if you want a single smart style. These three styles work well in a variety of scenarios including text, prose, headings, and lists.
Additionally a “Zone” style gives the feeling of a stencil or reflected mountain landscape while “Leak” gives a particle-decay/shaded look. Both are best suited for headings or title screens.
Another 2019 creation this has been sitting in the _Incomplete folder in one form or another it could be older. I believe Precinct 90 was the original the others fonts were based upon, the 90 referring to the right-angled corner that was removed, the 180 referring to two corners shaved and the 0 leaving it square on all corners.
The heights range from a zero variant to a tiny one and an “I can’t believe I went with 4 vertical pixels” bit variant. Overall it’s a similar concept to Sector but with a different final feel and look. The Precinct 180 variant feels like the typography on the side of a Blade Runner Police Spinner which led to the name Precinct.
All of these work well for titles and options screens and the 0 variants work quite well for large runs of text unlike the 180 variant.
As a child, I had terrible handwriting, and so I was drawn to the flatbed plotter at my school that would grasp a pen and then precisely draw gorgeously legible letters. I designed this font back in the 80s in The Artist II on my Spectrum +3 as a tribute to that device - our school’s PlotMate attached to a BBC Micro.
I ported this font to Windows and further refined it into Envy Code A. That led to Envy Code B, which in turn inspired Envy Code R. I also dusted it off in 2005 for the BASIN package and created a ‘Plotter 2005’ variant and a bold weight. The 2019 version takes a little from either, tweaks it and then unifies the style with the bold weight.
Both weights are easy to read, clean, and work in all scenarios.