On floating contour and sojourn

The OFF has sensitive opinion to the kind of the contour — detaching it as the important part of the project. Its speed, mildness and limitations: our type-face is a type-of-facing the finite human to the infinite Reality. Reality is alive. Reality is the Person. And the position of some points may change. Some of them contains a few and are linked to the Multimaster. We interpolate, this is how we pack it into the one font project. The interpolation gives an unique contour for the each font file we offer.

The bigger and covering meaning of floating contour is the characteristic of the epoch and the problems of modern philosophical borders that we have as 'context'. The word is not constant any more in it’s outlines, but it still keep the general mass of the form and directions.

Entirely this way of contouring shows up the nomadic situation for many, — most of, — graphic designers of our time. We do not have a shelter stable enough even to set up the TAX-bay. We may sit for years in Nicaragua missing Your dear books of specimens and snowboard left on the wet balcony of your Moscow and then at once being drawing most meanfull letter-sketches standing in the toilet of zion-train blowing through the snows of Mongolia. We have to obtain the connections between cultures that we work for or better define them through own heart opinion and particularly this very opinion and as the position on coordinates lets people to find the most descent hope: of meeting the other, each other.

The instance of interpolation

The model of instances presented up here is simplified scheme of what we have under the hood and term of interpolation is always need a remark on the problem of it: something average and intermediate stays on the border of inexpressiveness and unresolved as well as something alternative is always secondary. Although in the art of fonts the method of reworking and nuancing is leading one. Holding these controversial understandings we should have a critical consumption to what the mistake is there on a par with what the victory is. In the process of creating this typeface, the poles keeps most important points of the time of the process of creating the font. These are really mental values and the difficulty was to choose the poles that are beautiful and make them valuable in the interpolation. However, this was not done solely at the expense of the poles and additional intermediate strongholds were added, their coordination and arrangement along with their own value constitute the entire complex value of the Realist.

This complexity serves to obstruct the modern state of font there serious typeface is rarely unsupplied by the whole-range-of-axises and complexed multifamilies. It is very often when the particular typographer takes one or two cut of styles of the Font and even realises the need of ‘bold’ or ‘italic’ with the font that differs. The art of finding the combinations of fonts making the wonderful pairs that underlines each other is the general illustration of the ideas of diversity, multiculturalism, and all that post-modernism treasures. It is what admires us naturally and what we call the sense of typography. So do not have this choice left out of the consciousness. Be perfect to find out what You really need even in the minimum: pairing regular and italic. The same vertical metrics and adjusted optical appearance in all fonts of the OFF gives an opportunity to combine them as a ‘bold’ or ‘italic’ up to Your sense.