My specimen was restricted in the glyph offering (it was c. 1930ish) and I understood a lot would require to be done to 'complete' it and bring it to contemporary expectations. I didn't desire to do 'retro' and attempted to avoid the visual features related to it. What I did want to do is interpret what I had in the specimen and reinterpret it digitally, improving its construction and extending its typographic equity along the way.
The 'One' and 'Two' (and their matching 'Solids') styles diverge offering different elaborations that collaborate well in between rigid bracketed serifs and compact tails. I further broadened the glyph offering to consist of a complete diacritic set, old style characters, portions, stylistic alternates, swashes, titling alternates and regulated flourishes that comply with the effective structure of the script. And yes, I describe it as a 'script' because calling it a 'cutesy serif' appears incorrect:)
I hope this is seen less as a slavish revival and more as a championing of a truly unique typeface.
The Initial Typeface was Adastra, created by Herbert Thannhaeuser for the Foundry D. Stempel AG in Frankfurt, Germany.
Font Family:
· Rhythm One
· Rhythm One Solid
· Rhythm Two
· Rhythm Two Solid
Tags: 30s, adastra, book, book cover, cream, dance, decorative, display, flourish, gatsby, headline, inline, invitation, invitations, italic, jazz, letterpress, ligature, music, oblique, poster, retro, ribbon, serif, slant, sports, spur serif, stempel, swash, thannhaeuser, titling, tooled, vintage, wedding