My specimen was limited in the glyph offering (it was c. 1930ish) and I realized a lot would need to be done to 'finish' it and bring it to contemporary expectations. I didn't want to do 'retro' and tried to avoid the visual trappings associated with it. What I did want to do is interpret what I had in the specimen and reinterpret it digitally, refining its construction and extending its typographic equity along the way.
The 'One' and 'Two' (and their matching 'Solids') styles diverge providing various elaborations that coordinate well between rigid bracketed serifs and compact tails. I further expanded the glyph offering to include a full diacritic set, old style numerals, fractions, stylistic alternates, swashes, titling alternates and controlled flourishes that adhere to the efficient framework of the script. And yes, I refer to it as a 'script' because calling it a 'cutesy serif' seems wrong :)
I hope this is seen less as a slavish revival and more as a championing of a really unique typeface.
The Original Typeface was Adastra, designed 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