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 Hebert Thannhaeuser for the Foundry D. Stempel AG in Frankfurt, Germany.