1461420432
Published: 4th May, 2010
Last edited: 30th September, 2010
Created: 24th April, 2010
a V1.0 fontstruct - Minimalist 4 patterns font.
I create this font with my head rotated. It's a classic clean font. It's fun to play with size for different screen result, always readable, very small readable in pale grey, mid size get a cool fuzzy , big size clean and clear.
We can also overlay text to create shade and overlaping effect.
112145527
Published: 3rd September, 2011
Last edited: 14th September, 2011
Created: 10th February, 2010
This fontstruction was started a long time ago. Yesterday, being bored (or something), I randomly clicked on page 7 of My FontStructions and found this. Being bored (or something), I clicked Edit.
Back in February 2010, I was able to take this fs only so far and came to a halt owing to geometry and FontStructor limitations. Those limitations, for the most part, seemed to have disappeared in the intervening time. I must've felt encouraged as I've been working on this fs all day today. As it turns out, when you work on something long enough, something will emerge. Et voilà. (I jest. ;)
Oh the soap box syndrome!
Visual aesthetics require two elements, namely, art and design. Let's examine each, shall we, the better to understand whence this came from and to what purpose.
Art has as many meanings as there are people giving them. For me, art is that visual that appeals to one, the stress being on 'one', and serves no practical purpose. Design, on the other hand, by definition*, must serve some purpose, must be reasonably attractive to those for who it is intended, and must stay within the limitation (whether explicit or implicit) of all that is (or will be) involved.
This and every other fontstruction, being visual in nature, has an element of art in it. Keeping the above art definition in mind, and as far as this fs is concerned, the art was my personal aspiration to try to do a diagonal stem of the A and the M and have the rest of the letters in such formation so that they fit like a glove with the A and M (without any effort on the user's part — but that jumps ahead to design). The February 2010 version of the FontStructor allowed me to achieve that very well. The art part was a start (yes, sorry, I couldn't resist the rhyme).
In my experience, any visual thing, no matter how simple or complex; no matter how involved or not; how unique or generic; how &c. and &c. may be termed art as if any one person appreciates it, it is art, albeit to that person only. So, I am satisfied how this fs looks, so the art is done. Also as per my personal experience, design is a much harder, difficult, involved element of getting something done right that also requires appropriate technical know-how to see it to fruition. The February 2010 version of the FontStructor did not allow the 'fit like a glove without user intervention' part. This morning when I started working on this fs, the September 2011 version of the FontStructor allowed me to do almost all that I wanted it to. (I say 'almost' because there were one or two custom bricks I required that I was unable to achieve, quite possibly due to my own inability).
The design confine [—if art gets a rhyme, so shall design—], with every letter overlapping just so, required quite a lot of geometric manipulation (not particularly apparent) to make sure any two letters fitted in properly. It got tedious quick fast in-a-hurry typing out manual kerning pairs (AM, ST, &c.). I had to type out all kerning pairs (AB, AC…RI, RJ, RK…SM, SN, SO…VS, VT, VY…ZZ…&c.) in Word (utilizing handy Replace functionality to speed kerning pair creation) and test every possible pair (even ones that are likely never to be used in reality—QK, for instance).
This being a design exercise, there had to be a purpose. My thinking was, staying within the limitations created by the art part, the font should work as an instant logo delivery system. Type a word in fs Instant—and, hey presto!, Logo (a gogo). It’s up to you to decide if I succeeded.
199128457
Published: 13th September, 2011
Last edited: 6th February, 2012
Created: 12th September, 2011
I think I've completed the glyph. But maybe I will add some glyphs like More Latin, Greek, Cyrillic, etc.
881210711
Published: 27th September, 2010
Last edited: 2nd December, 2010
Created: 25th September, 2010
No you can't buy a MELKÖ at IKEA. MELKÖ is free here on Fonstruct.
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At small size the font become solid and look like it's build with different bricks than only dot.
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Inspire by E F from Star Script Writer http://fontstruct.fontshop.com/fontstructions/show/373427
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A bit classic and common, small personnalisation here and there
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will finish diatrics and others glyph soonThis is a clone
91186043
Published: 27th March, 2010
Last edited: 5th April, 2010
Created: 27th March, 2010
Let me introduce Hugo The Huge's little brother, Fritz The Fat. Some digit are copies of letters (2, 5, 6, 9), so you may need to use colours, patterns or any other trick to make them look different.
985107549
Published: 26th April, 2008
Last edited: 11th March, 2011
Created: 26th April, 2008
Clone of Tristeak Ribbon, with endcaps and some tweaks. One character in this set is topologically different from all the others... see if you can find it!This is a clone of Tristeak Ribbon
4501101
Published: 5th June, 2008
Last edited: 16th June, 2009
Created: 5th June, 2008
The fat uncle came for a visit. Meet the rest of the Trixel Family
here!This is a clone of Trixel Square Fat
3811102
Published: 5th June, 2008
Last edited: 12th October, 2010
Created: 5th June, 2008
A little experiment in legibility.
Based on a 3x3 px x.
Has some brothers and sisters.
Meet them
here!This is a clone of Trixel Square