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“Sans Serious I” by afrojet

Mon, 23 Nov 2009 15:06:26 +0000

The ‘Sans Serious’ Series is a group of tribute typefaces meant to honor Dutch designer and typographer Jurriaan Schrofer. Along with Wim Crouwel and Josef Albers, Jurrian Schrofer (1926 - 1990) was among the Bauhaus pioneers of grid-based modular typography and design. Schrofer's work experimented with type, light, and color and focused on mathematical shapes and pattern. From the book ‘Dutch Type’ by Jan Middendorp: “Schrofer made several attempts to create complete typefaces - one of which was wittily called Sans serious - but this was never his goal. ‘Is it necessary’, he wrote, ‘to make complete alphabets with upper- and lowercase, figures, diacritics and seriously adorned with a name, when the aim is merely a formal investigation into basic recipes’ Schrofer's domain was never the design of typographic alphabets, to be used by other designers, but always the creation of letterforms ‘made to measure’ as part of his own designs of - mainly - book covers and postage stamps. He created a rectangular alphabet as the basic element of his ever-changing covers - each based of the same grid but colored differently - for a series of scientific books, ‘Les textes sociologiques’ from Mouton Publishers. He made sophisticated pixel-based letters, all drawn by hand, and experimented with photographic screens as a means of distinguishing simplified letterforms from the background. He created logotypes built from custom-made letterforms, based on rectangular grids.” “In his booklet ‘Letters op maat’ (‘Type made to measure’, 1987), Schrofer presented many of his experimental alphabets from the 1960s and '70s. The booklet was part of a series of goodwill publications edited by Wim Crouwel for Lecturis Printers, Eindhoven.” Read more from ‘Dutch Type’. Image from Letters op matt. More images of Jurriaan Schrofer's work on Flickr: Schrofer in Total Design book. Cover for European Journal of Social Psycology Museumjournaal, design Jurriaan Schrofer Die Internationale Avant-Garde Jurriaan Schrofer - Fodor catalog Note: for all fonts in the ‘Sans Serious’ Series, the alphabet is the same for upper and lowercase.

“Sessions” by afrojet

Sun, 22 Nov 2009 22:17:58 +0000

Having previously played around in Fontstruct with Anni Albers' textile patterns, I thought it time to turn my attention to her husband Josef's work. Josef Albers' constructivist typographic experiments are a perfect match for Fontstruct. Other Fontstructors have done great work with Alber's ideas. Most notably, Saberrider's fontsract and Stewf's Leaflet family. Using Josef Albers' Kombinationsschrift alphabet (1928-1931) as my foundation, I've been having a lot of fun remixing and experimenting with his letters. 'Sessions' is the first to get shared. Hopefully, more to come.

“Slug” by afrojet

Mon, 12 Oct 2009 20:25:24 +0000

This is a Sessions flavored remix of Saberrider's wonderful Poff font.

“Slink” by geneus1

Sun, 11 Oct 2009 20:14:41 +0000

A tribute to Josef Albers: inadvertently inspired by saberrider and afrojet. This font totally happened by accident. Recently, saberrider created steep, which uses a 2.0 x 1.11 filter setting to smoothly blend the quarter-circle bricks into the triangles. After saberrider created his experimental variable scale fontstruction, it lead me to revisit an abandoned work I did from last year that was done in a similar scale. After getting over the initial disgust of looking at the dismal failure, I started tweaking. Then I decided to tweak the letters instead. It became apparent that I could create a stencil type font that also looked like Josef Alber's font. Coincidentally, Saberrider also has a variation with fontstract, and of course, that Stewf guy has his own family of Leaflets. ;-) Afrojet's sessions came into play in creating some of the letter forms, especially the numerals. The final filter setting became 1.638 x 1.08, which created a nice fusion of the curved and triangular bricks, but was also naturally inclined to necessitate the vertical divide on each glyph. The rest flowed rather easily from there. Here's to more happy accidents. =) The sample is also a tribute to Alber's color theory, showing the names in identical colors, which, when juxtaposed over contrasting colors tricks the eye into thinking the bottom name is darker than the top. The following Josef Albers quote can relate to all things creative, like fontstructing, not just color: "It should be clear by now that our way of studying color does not start with the past - neither with works of the past nor with its theories. As we begin principally with the material, color itself, and its action and interaction as registered in our minds, we practice first and mainly a study of ourselves. Thus, we replace looking backward by looking first at ourselves and our surroundings, and replace retrospection with introspection." - Josef Albers

“Albers” by Crissov

Sun, 23 Aug 2009 15:28:53 +0000

‘Schablonenschrift’ by Albers 1920s. ‘v’, ‘w’, ‘x’, ‘z’ are broken. I would have made a different ‘s’.

“Leaflet Gap” by Stewf

Mon, 28 Sep 2009 11:15:13 +0000

Much like MinimalBloc, Leaflet works better when the modular pieces are revealed. See the entire Leaflet Family.

“Leaflet Wide Stem” by Stewf

Tue, 03 Nov 2009 01:36:28 +0000

Wider stem for smaller point sizes. See the Leaflet Family.

“Leaflet Stem” by Stewf

Mon, 22 Jun 2009 21:01:40 +0000

With thanks to simple-deux for the idea of a vertical gap. See the entire Leaflet Family.

“Eclat Weave Rounded White” by afrojet

Mon, 03 Nov 2008 17:52:58 +0000

Clone of Eclat Weave.

“Eclat Weave” by afrojet

Mon, 22 Jun 2009 21:10:03 +0000

Just a fun one I did last night while watching tennis and reading the latest DWR catalog (see page 72). This is a pattern Fontstruction based entirely on the Anni Albers textile pattern of the same name. "Anni Albers began a three decades long collaboration with the internationally recognized design company Knoll in 1951. During the course of this partnership, Knoll released five of Anni's designs: Track, Rail, Lattice, Jhet and Eclat. Originally designed in 1974 as an upholstery pattern, Anni Albers' Eclat, was first produced printed on a cotton/ linen ground in various scales and color combinations. Reintroduction into the market as part of Knoll's 60th anniversary archival collection celebration in June 2007, Eclat, renamed Eclat Weave, is now produced as a woven, rather than printed, upholstery." - text taken from The Josef and Anni Albers Foundation website. See also: Knoll and Design Within Reach