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• • • • • • on letters, words, books and graphic design • • • • • •

Peghole & Peghole Wide

After my avantgarde adventures, back to some working stuff: Peghole is finished, including punctuation, accented letters and more. I sticked with the initial set of bricks (see the older post on this fontstruction below), except for the © and ® glyphs.
I made a wide version to go along, which went fairly smooth, except for the capital S and Z: simply adding some square bricks didn’t work here. I am rather pleased with my solution.

While having so much fun, I added a silly shadow version. 26 lowercase, 26 caps and numerals only. I won’t share that version for now, but if someone has a good use for it, just ask…

Peghole and Peghole Wide can be downloaded as TrueTypes here:

An overview of all the Peghole glyphs sits > here


Filed under: type & typography, ,

rock bottom…

Always searching for less, one is bound to hit the bottom. In my quest for ever smaller grids I tried some experimental fonts. And ended up with mucho experiment and little font. Anyway, here is the outcome of my little escapade.

I set out to make an alfabet using only two blocks per character. Now there are some funny bricks in FontStruct that can add some directions or detail, but wanting to keep some visual coherence in each font, narrowed down the choice. And soon after starting, I decided it would have to be stencil fonts. That means no isolated inner shapes. Also, stencil fonts would justify a certain unavoidable roughness.

I like 2BlockRound for some of its lettershapes, but had you read EXPERIMENT at first glance? Not everyone does go along with the E being the mirror image of the B, and the T and G are very far cousins, if part of the family at all… Some words would work, others are to be typeset at own peril.

Chipped took off from the same idea, but using only the square and hooky bricks. I guess you read the first three letter word at glance, but maybe because it was already between your ears… Anyway, B could be an alternate for F, C for K, R and P come dangerously close and some characters were almost impossible to render. Abandoned before the alfabet was round.

Insider was a promising idea: to work only with the inside space of a character. Using suggestion: very avantgarde and smart. Pitty it doesn’t work. Pretty intriguing forms though. This is where text stops and code starts. Might return to this one day…

Hammerhead started with the lowercase, where it got it’s name. I made some characters combining round and hooky elements in each. Ugly and clumsy, but with a touch of street credibility that reminded me of handcut letters in adhesive foil that I might have seen on a food stand in a place where tourist are rare. I like it but I wouldn’t kiss it with my eyes open. Keeping the same flavour in the caps was less easy. I like the R, but that sounds like saying to someone: ‘I like your left nostril a lot!’

One funny caps-only letter came last. Quarterback uses only half bricks and three quarter bricks (or straight corners if you like). I started with a four block x-height, which proved not enough for the B, E, Q, S and Y. So I cheated and went below the baseline, making titles look like a clothes line. There must be some use for this. Window dressing? Mosaic lettering? You tell me.


Filed under: type & typography, ,


For the sake of completion – and because they told something about the why and how of this blog’s subject – I translated some early dutch posts in english. You will find the english text of the ‘FontStruct’ and ‘Carpetknife’ posts under the original. Questions and/or reactions are welcome…

Filed under: Uncategorized

Tyrone is feeling better…

Glad to inform that Rob downloaded and printed Tyrone from Indesign. And had no spacing troubles.
Happy me… Thanks Rob!

Filed under: type & typography, ,

Alas! Tyrone stutters…

My Tyrone Struction had a flaw that seemed solved, but now strikes back.
In the review window of the FontStruction application, letterspacing looks odd.

Rob Meek pointed out this was probably due to the fact that I started some characters with a ‘half block’.
Much to my joy, when using the TrueType download in Indesign, the problem was gone.

At least on screen it was. When printing it to a postscript printer, the troubles rose again…

Ofcourse, lots of this anoyment comes out of the fact that I use very little grids. Spacing etc… is in relation to the blocksize. To be continued…

Filed under: type & typography, ,

peghole: 3 block fontstruction

Working on peghole. The rules: only 3 block-shapes and their rotations or reflections: square, quarter circle and ‘chopped’ square (see the image). Small grid size: x-height only three blocks high (hard in the three storey characters: e, s, z… and the x…). Square innershapes favoured.
Made a filler as supplement. That was the easy part. Overprint the regular over the filler to get a constructivist feel. Hardline avantgardists might even use the filler pure and undiluted. Brave! Heroic! Unreadable?

Filed under: type & typography,

tyrone online!

download the truetype version at: http://fontstruct.fontshop.com/fontstructions/show/86506

Filed under: type & typography,

squaredancing: family fun!

This one too started a while ago. Also put on hold because the continuous version (called cheeks) didn’t work back then. Wanted to make a very lively lowercase so I fooled around with the x-height. Hadn’t looked at Pierre di Sciullo’s fonts for a long time, but in hindsight his FF Minimum Sol must have left a serious impression. (> www.fontshop.com/fonts/designer/pierre_di_sciullo/) So I’ll dedicate this family to him.

The Narrow version is the most even one. I like the irregular and continuous better, but they suffer from uneven spacing in the caps here and there. Might have to revise som characters before this is shared. Maybe…

Filed under: type & typography, ,

Bop Closer

Made this version of Bop Carre a while ago, but kept it in the drawer since the letterspacing trick didn’t work back then. I started my characters one grid square left from the origin to make them stick together. Worked in the structing window, not in the truetype.
But: halelujah! those wonderful people behind FontStruct fixed this so here we are: Bop as it should be: cosy & close.
One tricky thing though: I also used the advanced features to create the gaps between the blocks in each character. And see: in the truetype version there are gaps between the blocks within each character, but not between two adjacent characters That is easily solved by adding a tracking of +10 in Indesign.

download a truetype version here:

this is the original, loose version, called Bop Carré:

Filed under: type & typography,