see also fs Pythagoras by will.i.ૐ
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Composite stacks yield the smallest matrix currently possible for this charming design. Though a more refined 2-times expansion is easy enough to imagine, economy of brick and scale lead to more efficient and exciting brick substitutions.
Don’t be a cog, try a clone and create your own variants! :-)
More to come...
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Congratulations! FontStruct Staff have deemed your FontStruction worthy of special mention. “fs Cognate” is now a Top Pick.
Greeeeat Font! Congrats from my heart for the TP!
P.S.: I was trying some similar, only over the paper. But yours is genial!. 10/10, of course!
@meek: Thank you for recognizing my FontStruction! :)
@elmoyenique: Thank you, my friend. I would love to know what grid-resolution you were working with in your paper explorations. I would also be interested to see images of your sketches to see how the designs are interrelated. Wow, right as I typed that request you posted the sample image above. Fantastic! ; )
@elmoyenique: First of all, I smile warmly at the custom brick you use for the “nuts & bolts” of your sketch. It is creative beyond the current limitations of the FontStructor as you imply an intersection or subtraction of two shapes. I like that we should not limit our imagination as far as the possibilities of our systems!
As you illustrate, the node points – the loci of connection – can be rendered in a wide variety of manner (for different special effects, weights, etc.) as well, the strokes and stems connecting them can vary quite a bit.
I have invited fsers to clone this FontStruction and try out various brick substitutions to explore these possibilities. Further, if one takes the time to understand how the custom stacked composites relate to the overall design, an entire new set of corresponding bricks can be designed and easily swapped in with smooth and unique results. Adjustments to the glyph structure (or even adding serifs or script connectors) can then enhance the character of the fresh new design.
The biggest difference between our approaches (and again, not one that the FontStructor disallows): a parametric variation of the grid we used (see Gustavo Ferriera’s excellent and recently released Elementar font system for an understanding of this terminology). I added an extra half-nodebrick to the capital letter width and did not attempt a monospaced design.
Thanks again for all the compliments and for sharing your fascinating sketch!
Impressive job! :-) 10/10
elmoyenique's sketches remind me of the bolts I did as punctuation/decoration for Acciaieria.
Hey, It's only a poor skecht. And you be careful: I have +-200 sketches like this! (not all are so beautiful like this one)...
@riccard0: Many thanks! : ) I would like to see this font of yours you mention but that I could not locate.
@elmo: I agree, it is a beautiful sketch. Even more impressive would be to leaf through your book of sketches and see all the different ideas you’re working on. But then, that’s why I appreciate the releases they eventually become. :)
Lol I almost tried to do one almost just like this a few days before you posted this :P
@crispycracker: Thanks, sounds like some classic fontstructing synchronicity. You, me, and elmoyenique all on the same page! :)
Let mirth be your guide in finishing your design, then. Or, you can clone this one and take it in an entirely different direction, like I did with fs Pythagoras. Playing with substitutions and fantastical low-res brick phantasies can lead to unexpected and innovative ideas.
This is really, really cool!
I've tried to do this style so many times. You nailed it.
I made the same in raster over 20 years ago (for a cracktro that even the pros remembered…), with a bit more elements. Cool to See a fonT version ! BTW, more possibilities (and less difficulties) when considering some rotations, hopefully.
PS. I mean 'z' rotations, not x/y ones, of course…
A very even, handwritten flow despite the inherent rigidity of its forms. The sprightly, angular effect is reminiscent of the lively lettering found in mid-century advertising.
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