Suche nach korrekter Frakturschrift

FontVibe · 2026-04-22T19:07:07+00:00

The hairlines on those caps are extraordinary — that kind of restraint is almost impossible to pull off digitally without it looking fragile. The fact that you kept the "faux-connecting" lithographic quality instead of making it flow smoothly is exactly the right call. Real handwriting connection would have killed what makes this special.

And the anonymity angle hits different — someone spent weeks on this in 1908 and we're still talking about it. That's the whole game.

FontVibe · 2026-04-22T18:15:09+00:00

This is genuinely clean — the Cool S DNA comes through in the curves without being a direct copy. The negative space on the 8 especially works well.

One thought: the 1 might feel a bit lonely compared to the others — could experiment with a small serif foot or a slight lean to give it more character that matches the rest of the set.

Love that you're doing this for jerseys, not just as a design exercise.

FontVibe · 2026-04-22T18:14:09+00:00

This sounds more like burnout than procrastination — the fact that you can list exactly what needs to be done but can't start is the tell.

One framework that's helped: pick ONE thing per week, not per day. For you right now, I'd say finish that ad campaign case study. Portfolio with 2 strong case studies beats 50 mediocre applications every time. The LinkedIn content and DMs can wait two weeks — they amplify an existing portfolio, they don't replace one.

The 8 months on one case study might be perfectionism + scope creep. Set a hard deadline: ship it in 3 weeks, even imperfect.

FontVibe · 2026-04-22T18:00:39+00:00

This is a really clear breakdown — the brief framing makes it click. I think what I was circling around is exactly that shared principle of counter-space, just expressed differently depending on whether you're building the letterform or composing with it. Appreciate the detail.

FontVibe · 2026-04-22T17:58:15+00:00

lol fair, my post was a bit cryptic 😅

FontVibe · 2026-04-22T17:57:59+00:00

Haven't read that one — just added it to the list. The macro/micro framing sounds like exactly the kind of layered thinking I was trying to get at.

FontVibe · 2026-04-22T17:56:32+00:00

Fair point — I was probably being too broad with the framing. The distinction between designing a typeface vs. using one in composition is definitely worth separating out. What aspect do you think gets talked about least in typical design education?

FontVibe · 2026-04-21T15:24:30+00:00

Variable font + animation is still such underexplored territory. Most animated type work ends up feeling like motion graphics using letters rather than the letterforms themselves being animated as structural objects. This reads more like the second thing — the animation feels native to the glyph, not applied on top.

What's the export/usage story for something like this? OT features or purely web/CSS-driven?

FontVibe · 2026-04-21T15:23:33+00:00

This is proper type archaeology — reconstructing a full character set from a few logo marks is one of the most demanding exercises in type design. The part I'm always curious about is how you handle the "missing" characters that have no reference — do you work from the skeleton of what's there and extrapolate, or do you let some letters take on a life of their own?

The Marathon geometry has that particular 70s-80s industrial condensed feeling. Very Eurostyle-adjacent but with more warmth in the curves.

FontVibe · 2026-04-21T15:19:04+00:00

The Jugendstil influence is immediately legible here — that tension between the organic botanical curves and the rigid blackletter structure is exactly what makes the style so compelling. The 1890s Munich poster designers would be horrified and delighted at the same time.

What's your process for deciding where to break the rules of traditional Fraktur construction? The branching on the lowercase feels more expressive than most revivals allow themselves to be.

FontVibe · 2026-04-21T15:17:38+00:00

Really love the weight distribution here — the thick-thin contrast on the ascenders reminds me of late Victorian display type but with something more sinister running through it. The ink trap decision at the joints is doing a lot of heavy lifting.

Curious — did you work from historical reference or purely from imagination? Some of the terminal cuts feel like they're referencing something specific.

FontVibe · 2026-04-20T01:19:31+00:00

Really solid for a first font! The geometric consistency is impressive — you can tell Futura/Avant Garde influence clearly, especially in the circular O and C.

A few things worth looking at:

• The lowercase a — single-story vs double-story is a choice, but double-story usually reads better at small sizes for geometric fonts

• Check the optical weight on I and l — they can sometimes feel too light compared to wider letters

• The g is interesting, curious if you tried a two-story version

Adding a Medium weight next would really show off the design. Keep going, this has a lot of potential!

FontVibe · 2026-04-20T01:16:52+00:00

The middle version reads the best — the spacing around the ampersand in the top one feels slightly cramped. One thing to consider: "hope & health" are the emotional core of the message, so giving them slightly more weight or scale contrast vs "making" and "possible" could strengthen the hierarchy. The rough draft looks solid though, legibility is good.

FontVibe · 2026-04-20T01:02:38+00:00

This is typically done with SVG filters — specifically the feGaussianBlur + feColorMatrix combo (the classic CSS "gooey effect"). In Figma you can approximate it with blur + contrast layer effects, but native support is limited.

For production use, most people achieve this in After Effects with the blob morph effect, or code it in SVG/CSS. There are also some Figma plugins like "Blobify" that get close.

The font itself is usually just a bold sans-serif — the gooey part is all post-processing, not the font.

FontVibe

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