The typeface with the working title »Edelsans« come into being with the idea to create a fashionable font which is, like Paul Renner’s Futura, really geometric. More over the typeface was planed to have only a light and a heavy weight to force an usage as display font. Orientated on Jakob Erbar’s Grotesk, the DTL Nobel and Christian Schwartz‹ Neutraface, the »Edelsans« characterize herself through less corners and more curves – obviously while having a look on the typefaces numerals.
Beside the ambition to design a geometric Grotesque, the »Edelsans« describes the attempt to generate a typeface completely digitally. Without hand-drawn sketches, the typeface is constructed by mono-lined vectors. Those were, of course, adjusted optically afterwards. Indeed the attempt to cover the vector with digital calligraphic brushes, shows how constrained a pure digital peace of work looks like.
The proportions of the »Edelsans« are right inbetween those of the ancient Roman inscriptional capitals and modern ratio. As well the x-height, and the de– and ascender are inbetween both poles. Thus modernity and pragmatism accrues beside the typefaces luxury to be a little bit extensively.
»Edelsans« was designed as a noble geometric font for the screen, with few corners and mostly rounded glyphs. The typeface is not completely finished but is free for non-commercial use.