It’s wonderful that it works, both as a plain single colour design, and as this chunky array of escheresque facets. KD Kalyn by architaraz was also my favourite from among the polychromatics. Colour Winner: KD Kalyn by architarazĪs it turned out, Florian’s choices were all monochromatic although he did admire the colour entries, picking out this one in particular. This font is a machine for making instant band logos. Together with the diagonal terminals that oscillate around the baseline and x-height, it yields a wicked look. What makes Metaal so cool is its steep angle. Basic letterforms defined by monolinear strokes for contours and counters, abutted against each other – just like we used to draw them on graph paper during lesson, while dreaming of the next festival weekend. In the end, Metaal’s fun and (seemingly) simple concept won me over. I had a hard time deciding between Metaal and Zwaar, another compelling entry by the same contestant. In tm About a Square I see a more peaceful and pleasant analogy: each glyph looks like a gift, wrapped in paper and tied with a ribbon! Winner #3 Metaal by four In True Cross Fire and Watzlcross, two film faces from the 1970s, this resembles cross hairs. One clever and minimalist way of doing so is to overlay the glyphs with fine lines. It helps to add a dash of white, to open up the black surface a little, and also to hint at counters and stem boundaries. Winner #2 tm about a square by thalamicīlocky typefaces of very heavy height tend to look clunky and boring. By mixing positive and negative glyphs, one can unleash a fascinating play of figure and ground, of light and dark. In their playfulness, they also remind me of Ben Shahn’s work. The ingenious thing about db HeavyLight is that the lowercase holds alternate caps, shown white against black. The square glyphs with their monospaced width and unconventional weight distribution seem to channel the lettering made by Chris Lebeau in the 1920s. I’m fond of FontStructions that embrace the limitations of the grid and explore an idea without dialing up the resolution endlessly. Without further ado, Florian’s favourites: Winner #1 db HeavyLight by beate
BAHAUS ADOBE ILLUSTRATOR FONTS ARCHIVE
(Of our 2.1 million+ registrations, he is number 99!) He’s also used FontStruct as a tool in his teaching practice in the past, even smuggling FontStruct right into the Bauhaus Archive itself! As well as being the managing editor at Fonts in Use and founding partner of design agency Kaune & Hardwig, Florian Hardwig has been a FontStruct supporter since its earliest days. With judging a more daunting prospect than ever, we sought and found the assistance of a genuine typographical heavyweight. I’m only sorry that we will feature only a few FontStructions in this post. Sixty amazing entries! I hope that everyone had fun taking part, and took pleasure in designing and sharing your work.
Wood Type Customs has a wood type version of the Black as Bauhaus.The “Heavy” competition has ended and, once again, the staff at FontStruct Towers were overwhelmed by your creativity. Linotype’s also includes the Stencil, which has bridges on ‘OoQ08’ and wider bridges overall.
URW’s version spans 6 styles Black D (Display), Black P (Poster), Black Outline P, Stencil D, Black Relief, and Black Rounded. ĭigital versions by Bitstream, Mecanorma, URW, Linotype, Elsner+Flake, mostly of the Black only, and without any of the many alternates. Castcraft’s Poppo Black is a copy of Blippo Black, with numerous alternates. Mecanorma offered two weights (Bold and Black) with various alternates, some closer to Burko’s shapes. FotoStar’s Film Font Digest (post-1981) shows a Blippo Fat, which matches Harry Fat. The 2 lightest weights, Light and Medium, are virtually identical to Harry Thin and Harry Plain. The Bold appears to be a clone of Burko Bold as shown in a 1969 annual.
BAHAUS ADOBE ILLUSTRATOR FONTS PLUS
Berthold’s E1 includes the same 4 styles plus a Medium weight.
The Solotype catalog shows 4 styles, Light, Bold, Black, and Outline. It was inspired by Burko and named Blippo Black by Joe's boss, Robert Trogman. One of the earliest of the 1970s Bauhaus-inspired phototype faces, Blippo Black was designed in 1969 by Joe Taylor for FotoStar, as part of their Facsimile Fonts range.
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