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Marvin Visions is a modern and consistent reinterpretation of, a typeface originally designed by Michael Chave in 1969 and published. It has been revived and expanded by for the identity of, a new science fiction magazine. When everyone is looking for the next workhorse, Marvin Visions does one thing well: it stands out.

Like the original, it’s uppercase only. Unlike the original, this new design wants to be more sturdy and versatile with a total of ten weights across two families: Marvin Visions Big for display use, and Marvin Visions Small for short text. Cara membuka situs yang diblokir tanpa software piracy youtube.

It sports diacritics for most European languages and supports Cyrillic. It has been enhanced with a number of symbols, including arrows and an ‘at sign’, on top of a completely redrawn figure set. You can see it in action throughout this page and in the. Book cover using the original Marvin from the of via. Marvin gets its distinctive voice not only from its Art Nouveau vibe but also from its almost geometrically perfect construction. Its roundness and familiarity with Bauhaus typefaces shows its roots in geometric sans serifs at the same time. Typefaces inspired by the Art Nouveau lettering are usually built with a brush stroke — a handmade feel that could transport you to Paris.

The original Marvin doesn’t care much for brush strokes. It’s built like a tank with fat stems, little to no optical correction and a C that’s simply half of the letter O. Marvin doesn’t have the time to dilly‑dally. The C is just half of the O. I only managed to find a handful of examples in use but the uses the Lubalin-esque tight-not-touching style. Maybe to support that trend, Marvin had generally narrow, plump, letters – a structural decision that can help to reduce the white space between the shapes. By going away from Roman proportions and with the limitations of a seemingly modular typeface constantly re-using bits of itself to build itself, Marvin had a few letters that felt awkward.

Whether it’s because of the rigidity of the construction or not, letters like P, R, C, K, Y were much narrower than the rest, producing an uneven rythm within words. After closer inspection, the curve on the A and V (which looks like it’s simply been flipped) leans in, flattening the shape as it curves.

Creating more white space above the curve felt inconsitent with the intent of use with tight spacing. Orginal R & P compared to H These details (or flaws) could be part of what made Marvin and its charm, but I thought the design could benefit from a fresh perspective. I wanted to solve the problems I could see at a glance: how to bring Marvin’s character to the modern world? How would it work online? At different sizes?

How would it work with different languages, diacritics, etc.? How can I make it sturdy and versatile? Redesigning Marvin With a specimen provided by in hand, I started by following the shapes closely and drew what I saw. If you know a little about type design, you know that it’s often recommended to start drawing H and O first.

They’re not the most exciting to design but they inform the vertical, horizontal and round strokes throughout the typeface. Moreover, this is where you’re likely to start when spacing the font. I knew a decent amount about typography, but not a lot about type design so I started with the letter that fascinated me the most: the A. The first things that Marvin shows you – and they’re in the name – are its A, N and V.

My instinct was that the magic was hiding in there and it was crucial to get these letters right. As soon as my first printed specimens came out, I started to see issues. The words had no balance and some letters, like the tower of Pisa, were about to topple. I had a different image of Marvin in my head. For me, it had strong and sturdy shapes, sure on their feet.

The narrowness and the flatness of the curves reduced the counters when my idea of Marvin was more open and maybe more ‘Roman’. I particularly wanted larger counter to increase its readability and friendliness so it could be used in different contexts. As a result, Marvin Visions is based on the initial impression that Marvin made on me rather than a true reproduction of its lettershapes.

Nearly identical shapes for V, A and N in Marvin. With over 42 different versions, the A was one of the most time consuming glyph. The task was to find a curve that could fit A, V and N whilst maintaining the impression of visual harmony. Tank games free download.

They have a wider, more pronounced curve that feels smooth throughout, arching over the stem. It creates space inside the letter and closes the gap you’d have next to shapes like T. Obviously the curve couldn’t be transplanted to the V and N without being adjusted, paying particular attention to the joints and shoulders. Marvin vs Marvin Visions The cog in the night-time. When I started to work on the O, I was surprised by its simplicity. This was a round, unapologetically geometrical shape. Wide, with a generous counter, to the point that any idea of an overshoot had been forsaken.