Color – Fragments of Beauty https://frammenti.stefanseifert.com Typeface Works and Essays Thu, 24 Jan 2019 08:01:53 +0000 en-US hourly 1 https://wordpress.org/?v=6.4.5 https://frammenti.stefanseifert.com/wp-content/uploads/2016/12/cropped-Homescree_icon-32x32.png Color – Fragments of Beauty https://frammenti.stefanseifert.com 32 32 Last Refinements on Threeadvanced Webfont https://frammenti.stefanseifert.com/2019/01/last-refinements-on-threeadvanced-webfont/ https://frammenti.stefanseifert.com/2019/01/last-refinements-on-threeadvanced-webfont/#respond Wed, 09 Jan 2019 11:21:49 +0000 http://www.seifertfragments.de/?p=2764

A long long story finally seems to come to end. It all began with an ultra thin display typeface called Advanced. Which was influenced by one of my favorite Sans Serif typefaces Franklin Gothic. It had a less pronounced line contrast, sure was way thinner, but still kept some of its elegant color mood. Threeadvanced was developed as an accompanying text face for the web and itself has undergone major modifications and re-versioning over the years.
When you work on a typeface over a longer time period it is curious how it seems to adapt itself to the changing spirit of times. It is a thing inevitable to happen.
In a way it is the font I use to work on after a hard day of labour with a good glass of wine and my favorite music to relax and calm down. When you work on a typeface over a longer time period it is curious how it seems to adapt itself also to the changing spirit of times. Something what we Germans like to call ‘Zeitgeist’. In the beginning it still had some slight remains of typefaces like Meta or even Thesis form the late nineties. Then with the years, specially in the last 2 years, it evolved more and more in the direction of the nowadays popular lot more geometric forms as seen in Montserrat and others. It is a thing inevitable to happen. Threeadvanced (“Version 3”) once had a large variety of fonts for different uses as, for example, to be rendered on screen with sub pixel technique or retina on the other hand. All those experiments were dropped in the end as web is in fast progress and keeping it up with a typeface in continuous refinement process is almost impossible. So I decided to go for one of the blacker versions of this large family in order to use it in a more general way. My Stefan Seifert logotype also is just a simple use of this typeface, no lettering or extra space adjustments. The picture above shows the process of spacing and some ultimate refinements on letters as the ‘a’ which has become slightly more stiff with more geometrical circular inner forms. Photography in the background is by Paolo Roversi. I particularly love to keep some of his sepia colored fashion shoots in the background to inspire myself and to unconsciously stick to some of this typeface’s original “color”. Credits: Paolo Roversi | Photography]]>

A long long story finally seems to come to end. It all began with an ultra thin display typeface called Advanced. Which was influenced by one of my favorite Sans Serif typefaces Franklin Gothic. It had a less pronounced line contrast, sure was way thinner, but still kept some of its elegant color mood. Threeadvanced was developed as an accompanying text face for the web and itself has undergone major modifications and re-versioning over the years.
When you work on a typeface over a longer time period it is curious how it seems to adapt itself to the changing spirit of times. It is a thing inevitable to happen.
In a way it is the font I use to work on after a hard day of labour with a good glass of wine and my favorite music to relax and calm down. When you work on a typeface over a longer time period it is curious how it seems to adapt itself also to the changing spirit of times. Something what we Germans like to call ‘Zeitgeist’. In the beginning it still had some slight remains of typefaces like Meta or even Thesis form the late nineties. Then with the years, specially in the last 2 years, it evolved more and more in the direction of the nowadays popular lot more geometric forms as seen in Montserrat and others. It is a thing inevitable to happen. Threeadvanced (“Version 3”) once had a large variety of fonts for different uses as, for example, to be rendered on screen with sub pixel technique or retina on the other hand. All those experiments were dropped in the end as web is in fast progress and keeping it up with a typeface in continuous refinement process is almost impossible. So I decided to go for one of the blacker versions of this large family in order to use it in a more general way. My Stefan Seifert logotype also is just a simple use of this typeface, no lettering or extra space adjustments. The picture above shows the process of spacing and some ultimate refinements on letters as the ‘a’ which has become slightly more stiff with more geometrical circular inner forms. Photography in the background is by Paolo Roversi. I particularly love to keep some of his sepia colored fashion shoots in the background to inspire myself and to unconsciously stick to some of this typeface’s original “color”. Credits: Paolo Roversi | Photography]]> https://frammenti.stefanseifert.com/2019/01/last-refinements-on-threeadvanced-webfont/feed/ 0 Working on Trussardi Small Caps https://frammenti.stefanseifert.com/2018/09/working-on-trussardi-lettering-small-caps/ https://frammenti.stefanseifert.com/2018/09/working-on-trussardi-lettering-small-caps/#respond Sun, 23 Sep 2018 07:49:14 +0000 http://www.seifertfragments.de/?p=2557

During my researches for a Trussardi brand lettering I developed a special Small Caps version of Reflection typefaces. Here is the metrics window and beautiful #Natalia as an inspiration fountain in the background. A particular task was to create a unique and special small cap ‘u’ which was hard to balance on the line without serifs. It introduces also a new intermediate stroke width between the thick stems’ weight and the ultra crossed hairlines. Which was necessary as, of course, without the serifs the ultra thin lines would not be able to create enough color on its right wing. Another subtle detail you may note here are the differently angled stroke ends which are slanted slightly towards the outside. It takes up a typical characteristic of Reflection as you may also observe in stroke ends of capital ‘T’ and other letters, as well. If you want to know more about my methods to develop small caps variants of typefaces read also [German language] Credits: Paolo Roversi | Photography]]>

During my researches for a Trussardi brand lettering I developed a special Small Caps version of Reflection typefaces. Here is the metrics window and beautiful #Natalia as an inspiration fountain in the background. A particular task was to create a unique and special small cap ‘u’ which was hard to balance on the line without serifs. It introduces also a new intermediate stroke width between the thick stems’ weight and the ultra crossed hairlines. Which was necessary as, of course, without the serifs the ultra thin lines would not be able to create enough color on its right wing. Another subtle detail you may note here are the differently angled stroke ends which are slanted slightly towards the outside. It takes up a typical characteristic of Reflection as you may also observe in stroke ends of capital ‘T’ and other letters, as well. If you want to know more about my methods to develop small caps variants of typefaces read also [German language] Credits: Paolo Roversi | Photography]]> https://frammenti.stefanseifert.com/2018/09/working-on-trussardi-lettering-small-caps/feed/ 0