Fuente original de ICELAR; solo le agregué los carácteres hispanos áéíóúüñ en mayúsculas y minúsculas.
This is a clone of EvangelionThin sister of zenando, more legible for body text (even at pixel size), but with numerous differences on a lot of glyphs (it's a new font, basically). You can find an additional "$" in the "§" glyph. There are also new ligatures "ff" and "tt" which are in the places of "fi" and "fl". Enjoy it, please.
This is a cloneelza: serif meets ball terminal... I found out the Germans actually have a word for this: 'Tropfenserife', which roughly translates as 'teardrop-serif'. Normally appearing at the end of strokes in letters such as a,c,f,g,j and r, I have tried to build this font around it, using it as its main design feature.
A revamp of a Winty5 Original from January 2013, my first Top Pick ever, now featuring a full Basic Latin Character Set and real lowercase.
This is a clone of 5GoldminerTHIS FONT IS A COPY OF "FORMAL ROMAN"
I want to try to expand this font so it can have more characters and supports more varieties of languages
Expansions :
- Latin Extended-A
- Cyrillic
- Greek
- Added more letters and symbols in More Latin
If there are any mistakes, please inform me, and I will fix it asap
This is a cloneUnicase font. You can find alternates to "A" & "E" at the lowercase "a" & "e" (and their accents, of course), an additional design for the "Q" at the "q" and a "c" typing the "¢" sign. This font is directly inspired on Nickel created by the cool typographer David Jonathan Ross from DJR Foundry. Why? I don't know if this will happen to any of you, but me, when I stop to look at a font that I like, I find myself evaluating how the author has solved the usual "design problems". There are times when I agree with the chosen solutions (the most), but there are others when I think I would do it differently. This is the case. I wanted to modify a bit the general appearance of some glyphs of the font, especially characters like C, E, F, G, M, Q, R, S, X, Z and more, or the numbers and some secondary others. The differences were extensives and are more or less subtle in each of the complete set... And here you are the final result, I hope you like it. I've learned a lot during this experience, and FontStruct has been shown to be a very valid tool to work at this level. Thanks for read my little explanation and enjoy with this work, please.
What began nearly 8 years ago as an experiment in multi-stage, multi-resolution pixel serif type drafting (starting smallish then manually upscaling x4), took on the robust character you see here after countless edits and some tricky lessons learned along the way.
The initial weight was on the light side (cloned privately for posterity), so I took a leap into this bookish weight by fattening each glyph copy-pasted 1 pixel shifted both up and to the right. A rudimentary technique, by no means novel, yet almost wholly effective. I saw fit from here to only make a handful of corrections, keeping the slightly rounded and slanted serif shape that resulted as well as the subtle reenforcing of a pen-nib construction.
More intriguing is the 1-bit “anti-aliasing” scheme I found myself progressively guided toward while finding the lines of these curves developing the initial light weight. Implied diagonals and said curves – as well as refinement of contrast – are substantially more granular and specific than had I taken a black-and-white posterized, or stairstepped approach.
At half-resolution, the resulting smoothness is acceptible. This type of hinting will be useful in developing a substitution rule set consisting of subpixel slanted or curved bricks to produce a “vectorized” version.
Indeed, such a process could be purely automated by a proficient developer or properly trained neural network (this would be a really interesting future feature for fontstruct pro – rather than hinting a font after painstaking vector construction, why not reverse the process by way of en vogue ai-assisted upscaling?).
Basic accented charaters and numerals are being added as I churn through the extended character set...
Recreation of the large pixel font from Extended Play Productions' "Chakan: The Forever Man" (1992) on the Sega Mega Drive/Genesis.
With the exception of the single quote/apostrophe, only the characters present in the game's tile set have been included.
gently calligraphic latin with a chinese touch
separated from the main font so that i can keep using global fixed width
also so that i can focus, and also i fear that the vibes don't 100% jive with the hanzi
This is a clone of fs biənsujAdaptation of zevilla2U, trying to make the original font usable for other purposes. Oranges and green leaves, with the smell of the azahar (the orange blossom) on the streets of Sevilla (Spain). An old idea fontstructed now with the magic of colours. Better see at big size, please.
This is a clone of zevilla2U 3D Xmas eYe/FSWIP. This is a specially designed (but unfinished) font for this Christmas greeting with my best-best-best wishes to all of you, dear long-distance friends. And my family and I send you with this our enormous hope for the next 2022 to be much better for every one of the huge group of people who friendly use FontStruct. Be happy wherever you are and whenever you can. Warm hugs. ❤️❤️❤️! PS: Better see at big size.
This is a cloneimitation song-ish, hopefully with early 1900s century rough vibes, and not early 2000s century sanitized vibes
not usable as a real font, for obvious reasons. i do not plan to make this remotely usable, ever, for obvious reasons. not a serious entry, because of the above problems. just a smart-ass interpretation of 'twenties' (early 20th century / 1920)
Then I thought "How about adding a shadow? Just a little shadow for zarzaparrilla..." Hmmm, well, it was a bit more complicated than it may seem at first... But finally here it is! Ta-da-daaa! (-Phew-). Inspired on a few glyphs from "Pionner" (1969) by Francisco Gonzales.
This is a clone of zarzaparrilla eYe/FS