Hi,

I'm really digging this font. As a fan of M.C. Escher, I always like to see how he has inspired others. I think this works well as a unique display typeface. How close is this to the original lettering of Ferrario? I would love to see some examples of his letters.

It seems as though some of the lowercase letters are too intricate for the x-height (s,z) and appear crushed. Increasing the x-height would fix that, although I can see you'll have to modify the angles as well.

And maybe this is an endearing trait, as many fonts like this have odd facets that make them unique. The spur on the top of the "1" looks a tad too long and it may be confused for a 7.

Overall, though I think it looks great. I would love to see a version with curves instead of angles. You should also play with the width, a wide version could be cool. I would also like to see a fully filled in version with no slices through at all.

Nice!

Interesting concept, Carlos!
Congratulations! This is a cool project for a display font!

Here's my modest opinions:

I believe that there are some formal problems that attempt against the legibility in some signs: z, s, B, E, etc.
The font is close to be "rigid" because its letterforms were do without curvature. Perhaps it's interesting to combine curved and straight shapes for achieve "softening" in some glyphs.

Perhaps the x-height could be bigger, to improve the legibility, i don't kwow.

Best regards and keep working, you're doing good! :)

elsebra
www.elsebra.com.ar

A really great idea, but very hard to pull off - as can be seen in some glyphs which exhibit a moderate complexity and not impossibility. My hunch -just a hunch- is that you might have to be less literal, leave more to the imagination of the viewer, and focus on the overall texture, not the effect of each individual letter... In any case keep at it - it might all click well enough!

hhp

Hello Fabian,

Even though you don't pursue optimum legibility, may be you could improve ir by trying to keep vertical/side stems always wider than horizontal/top&bottom stems. Strokes could also be round when needed, without failing tou your concept, which, by the way, seems excellent to me. Best regards,

César Puertas

Hello everyone,

Matthew:

M.C. Escher was a genius. I don't really know if he was Nedo's inspiration. I suppose it and that is why I think his impossible figures influence him. It is almost impossible to find information about Nedo's alphabet in the internet. Attached you will find a PNG file with the numbers of this font I am working on; based on that I am building the complete alphabet.

Regarding what you said about the lower case letters, you are right. The "s" and "z" are a little divorced. Number "1" and "7" have to be redesigned.

Sergio:

I will try to follow your advice. The work that is remaining is a lot.

Hrant:

What do you mean when you talked about being less literal and leave more to the reader imagination? Do you think I am spending much time designing each letter details and not bearing in mind the global effect of the entire alphabet together?

César:

I think the 2 up and down thick sticks are used like a rail to guide the eye between all the optical effects shown. That is why I think they have to remain as they are, thicker than the vertical sticks.

Thanks for all your time and comments!

—
Carlos Fabián Camargo G.

I think I mean that since some letter structures seem to make impossible topology... impossible :-) you might as well loosen your "rules" to end up with something that simply conveys the mood of impossibility through actual impossible topology on the part of some letters but also nice 3D structures (like the numeral 2) as well as simply decorative detailing.

hhp

New corrections:

—
Carlos Fabián Camargo G.

Looks better.

hhp

I like this a lot, keep working on it! I would also recommend working on another color layer to emphasize the dimensionality.

I think this is really interesting. Great concept and it really is looking strong. Will you use this privately first to boost a clients project? I hope you do. If I could letter or design type I wouldn't be so quick to release the typefaces until I was able to use them for clients.

Redundant thought: My only concern about some of these great display typefaces that people are doing is that they aren't keeping them private long enough to use them on their own first. (Although you might and so I'm not saying this only to you.)

But does it have to be a commercial typeface?

You mean they're being too generous?

hhp

No. I just think that if I could letter and do fun trendy stuff like this I wouldn't be in a hurry to make it commercially available. (Unless I really didnt' have any clients that needed it.)

Thanks for all your time. Your comments have been very useful for my progress. Here are some samples if the upper case letters I have done.

—
Carlos Fabián Camargo G.

Well Tiff, couldn't this also get Carlos' designs noticed and perhaps MORE clients? Though I do see your point.

Yes, good point Terry. I realize now that my comment needed more clarification. Heaven knows I'm a total geek for type. Please know that I didn't really mean to say "don't try to sell this," so much as, "make sure you don't have bespoke options first."

Thanks for encouraging me to finish this work!

—
Carlos Fabián Camargo G.

really interesting font.

nice work.

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Paul Ducco
Design Melbourne
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Little Mischief

Available for purchase at Myfonts.

Best regards,

—
Carlos Fabián Camargo G.

Congrats.
How useful was Typophile in the development of this design?

hhp

MASSIVE congrats!!

Will put the word out.

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Paul Ducco
Design, Melbourne
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Little Mischief

Hrant:
Every person who left his opinion in this post gave the courage to continue. Typophile is an excelent motivating place.

Ratbaggy:
Thanks for your support.

Regards,

—
Carlos Fabián Camargo G.

Then I think a (small) credit in the font's description is due.

hhp

Ok.

—
Carlos Fabián Camargo G.

U da man. :-)

hhp

—
Carlos Fabián Camargo G.

dope font!

I've just found out about it now. Beautiful!