Explore Posterous

Walking doesn't have to be dull.

Swinging her leg over the fence, Jack couldnt help find the sight
slightly arousing. Jess's jeans hugged her legs and made her bum look
sexier than normal. His mind flashed the same view but of her doing it
naked. ( A made up view sadly, he had not seen her naked )

Jack snapped out of the fantasy and climbed over the fence and
continued walking through the countryside with Jess. 

Walking along they chatted and caught up, the conversation often
returned to past sexual experiences and dreams, Jack was aroused and
getting more and more sexually frustrated. He wanted to believe Jess
was equally frustrated.

Jess, could feel her pants getting a little hotter, the fresh air, the
talks about sex, the slight lust she had for Jack. She wanted to
explode, but couldnt.

Jess looked at Jack and muttered "I need to pee", teasing back Jack
pointed to the hill and said there was probably a loo over the hill
next to an old oak tree.

Jess realising that Jack was probably lieing said she was just going
to have to go here.

Telling Jack to look away and to make sure no one was watching. Jess
pulled down her jeans and her thong, she felt the fresh cold air over
her buttocks and the coolness rush over her hot sex.

She pee'd, after she finished she glanced back at Jack, he was not
watching, she felt a desire to touch herself secretly in front of him.
Her fingers slide over her clit and she slipped a finger into herself,
feeling the warmth of her pussy on her finger. That was enough she
thought, the whole time making sure Jack was not looking.

Standing up she pulled her jeans up and did the zip up.

Jack was starting to get stiff at the thought of Jess half naked, he
wanted to turn around, but didnt dare. His mind racing with thoughts.
his cock twitching every now and then in response to a delightful 
mental image. The sound of Jess doing her zip up, Jack turned around
and was about to say onwards.

Jess looked at Jack with a little gleam in her eye and asked him to 
close his eyes, saying she had a little treat for him, Jess told Jack
to open his mouth.

Jess placed her finger into his mouth, "Taste it", Jack closing his
lips he could taste something but couldnt quite pinpoint the taste.
Opening his eyes, he said, "no idea".

Smiling back at him, she said you just tasted me.

Loading mentions Retweet

Working on it...

From the web site of the new Neues Museum in Berlin. Really proud of their new building, they are. But getting an architect to stop building is not always easy, it seems...

Edit: but then, maybe it's an installation ...?...

Loading mentions Retweet

Comment (0) »

La rédaction de Luff.fm Vendredi à 16h15

Click here to download:

luff.fm.mov (5561 KB)

Samuel, Omar, Céline,Patrcik

Loading mentions Retweet

Comment (0) »

Work in Progress: Goudy Trajan "Pro"

     

Click here to download:

Work_in_Progress_Goudy_Trajan_.zip (251 KB)

I'm having fun adding alternates (shown above in #1) and OpenType features to a new version of Goudy Trajan, which could easily qualify as what many foundries call a "Pro" version. The Regular weight is well under way. I'm currently working on small caps, but that is a can of worms, as all three weights of the family will support not only Central and Eastern European languages (Latin Extended A), but also Cyrillic (#3 above) and Greek (modern); so, that's a lot of small caps, not to mention all the extra kerning involved (small caps to small caps, uppercase to small caps, small caps to small-cap punctuation, etc.)! I've added over 20 ligatures for Latin and will add several for Greek and Cyrillic each. If you have any suggestions about what other goodies should be in a so-called "Pro" font, please let me know.

UPDATE: An intermediate version of Goudy Trajan Regular has just been released for beta testing. It has most of the features of the "Pro" version, but not small caps, or Greek. You can download it for free at: http://www.castletype.com/html/tipoteca/goudy-trajan-regular.html. This is a completely functional font with many improvements over the versions that have been available for the last several years. Give it a try, then feel free to suggest ways to improve it even more.

Loading mentions Retweet

Comment (0) »

Work in progress: Stencil fonts

   

Click here to download:

Work_in_progress_Stencil_fonts.zip (50 KB)

Here are two stencil fonts that I am currently working on: (1) Zuboni Stencil, based on a Russian design by an unknown designer, and (2) Plantain Stencil, based on my Plantain which in turn is based on Plantin Adweight, which was one of my first commissioned projects (by Smarter Image, long before they went bankrupt). If I weren't having so much fun this week with starting this blog, I probably would have finished kerning these and released them by now. Ok, I'll get to it tomorrow! And yes, the first one (Zuboni) includes Latin letters, but Plantain Stencil does not include Cyrillic ... yet. For those who are curious: Plantin is a modern revival typeface, cut under the direction of F. H. Pierpont in 1913, who based the design on that of a famous 16th century printer, Christopher Plantin, for whom Pierpont's font was named.

Technical notes: One of the interesting dilemmas of doing a revival — as with both of these fonts — is how true to stay to the original, and what, if any, changes to make in the design. I always work on the assumption that the original designer knew what he was doing. But, I inevitably end up making some changes for one reason or another. (Yes, I'm one of those people who cannot follow a recipe without tweaking it a bit.) For example, while creating Latin glyphs for Zuboni, I became more aware than ever before of how many more diagonals there are in the Latin uppercase than in Cyrillic, mostly thanks to the last five letters our alphabet (VWXYZ), all of which are mostly diagonals, and none of which (except X) are part of the Cyrillic alphabet. All of a sudden, the glyph elements that had worked so well for Cyrillic started to look really awful when applied to some of the Latin letters. So, I had to experiment quite a bit, and in order to make everything work together, I had to change some of the other glyphs. For example, the 'M' in the final version is different than the one shown here. I don't make that sort of change without some deliberation, but some things work and others don't. What works for a Cyrillic alphabet may not work at all for Latin, and vice versa. So, it can be challenging to come up with solutions that work for both. Then, if you add Greek ... well, that's another essay.

Another thing that fascinated me was adding the cuts to Plantain to create a stencil version. Not quite as straightforward as it might seem. But, what was a pleasant surprise was how much "sparkle" the cuts added to the design. I guess it's a similar effect to that of adding an inline to a font; but, I wasn't expecting it. (Unlike a lot of type designers, I rarely have a clearly defined agenda when I start on a design — for better or worse — so I often have surprises in the process.) Anyway, I guess it makes sense, because there is more light (white) bouncing off the paper (or monitor) where the cut has been made in the letter.

Ok, if these sort of musings are REALLY boring to you, this is probably not going to be your favorite blog. But, if you find it interesting, perhaps you will want to subscribe. In either case, please feel free to leave comments, suggestions, whatever. You don't need to register to leave comments here.

UPDATE: The fonts shown above are now available directly from CastleType: Plantain Stencil, Zuboni Stencil.

Loading mentions Retweet

Comment (0) »

Type design: A peek behind the scenes

One of my favorite parts of the type design process is to print some proofs of a typeface, then get away from the computer for a couple hours and markup the changes that need to be made. Sometimes it's so much easier to see things printed in ink on paper than to look at them on the monitor. Also, if I'm on the computer, I'm more likely to do other things (such as add more glyphs, check email, grab a snack, etc.) that distract me from really looking at the design carefully and critically. Shown here are early drafts of my new Carisma Gothic subfamily: Light (left), Black (lower right), and a preliminary blend to see what a Medium (top) might look like (with some major tweeks to it because of the difference at the vertices of the A, M, N, V, and W between the two extreme weights); the red marks represent changes to be made. Lots of refinements to make still. But, first I need to get back to some other font projects and finish them up and get them out into the world! I'm great at starting new projects, but it takes a lot of discipline for me to follow through to completion. Doing kerning and testing is not nearly as much fun as those early sketches and drafts!

Loading mentions Retweet

Comment (0) »

Designing Type: Carisma Gothic Light

I finally started working on Carisma Gothic Light. Eventually, there will be a monoline version (like this sample above) to correspond to each weight of the Carisma family (http://bit.ly/LTTtm): Light, Regular, Medium, Demi, and Bold. Carisma™ Light was released in December 2007 and quickly became a 'Starlet' on MyFonts.com. The following August, HOW magazine said of the Carisma family: "If you're in need of a sophisticated sans serif font, look no further than type designer Jason Castle's Carisma." The new Carisma Gothic subfamily will give the designer even more options. If all goes well, I should have it completed by the end of 2009.

Loading mentions Retweet

Comment (1) »