Lately, I’ve been leaning towards a traditional view of printing, be it Renaissance or modernism, in any case, reliance on cultural/historical code is important. So old-fashioned antiques (or Haralds) for me are the basis of printing.
Ian Van Krympen.
Ian Van Krimpen and Bram De Doose are the main people in my font formation, so I found nothing better than to base the project on their work. I wanted to preserve the plastic scripts of Van Krippen and De Dus, but to adapt the forms to the digital realities and pay attention to the. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The family Trinité was taken as the basic system of the list Rivalité. The reason for this is a clear emphasis on working with the set and the text. And that’s why the sketches are very good, fatty, and wide. This gives the printer the opportunity to fine-tune.
The main lines, regular and physical, have been fully developed in the module. The rest of the plans are to be worked out in the near future.
Rivalité Roman
The typeface is based on the logic of the letter with a wide end pen. That’s why there’s dynamic stabbings and pickings.
Asymmetrical and hanging rods are needed to create «the dynamics of the set», what Bram De Doose called the pig of the font.
The top is the final version; the bottom is the first version. In addition to fine-tuning the contours, you can see how much change has occurred in the sense of the shape of the sensors.
Based on Frank Blockland’s Ph.D. thesis, «On the Origin of Paterning in Movable Latin Type»
The most important characteristic of the set is its rhythm. The approach to the principles of «patterning» simplifys kerning and makes the set «in-resensance» even. It also looks better when you’re off on a formal.
Family
The normal and semi-fat outlines have the same width so that they can easily be changed to each other and the saturation of the set can be changed.
The three lengths of carryable elements are convenient to work with footnotes and large texts. Such a small detail immediately affects the choice of inter-agency, and the nature of the recruitment is appropriate.
Captures are an important part of traditional printing, and we’ll come back to them.
Librarians follow the length of those who are carried out in the outlines.
The font contains initiative (primary) and terminal (complete) letter forms for thin calligraphic words.
A universal set of numbers for any set of purposes.
The stylistic set is based on historical forms (zero and paragraph) and attempts to romanize forms of ~kirillice (k/r)
Rivalité Italian
The Swedish Calligraphers (Erik Lindegren, Kerstin Ankers, Karl-Erik Forsberg) and the Dutch themselves, Bram De Doose and Gerrit Noordzay, had a major influence on the Italians.
In addition to the work of Swedish and Dutch Calligraphers, my personal experience served as the basis for the irony. The letter G is a vivid example of my hand.
Italic Rivalité has a slight slope of 7°, which is small compared to other rebirth scripts, but brings it closer to modern practice. And this slope works better with a straight line.
Some capital letters already have calligraphics.
In spite of the controversy over the need for hard copyers in the Italians, they are available in Rivalité to create the ground for new printing traditions.
Italics have a fourth insignia with their own on the carry-out elements (with the height of the carry-out = the height of the third insignia.
Rivalité in use
Fontier ' s Cashier ' s Office
