.Esta fuente ha sido hecha para usarla un día muy especial en la vida de mis adorados Héctor y Trini, que han decidido casarse. ¡Os queremos felices por siempre! ¡Vivan los novios!

Not finished font (kern in progress). An extra "Q" has been added in place of the "©" glyph, and a nice heart symbol appears also at the "™" one. I'll fine-tune some details ASAP, I promise.

A fun challenge for a colorblind campfire aficionado such as myself. Thank goodness for hexcodes. Please enjoy~

Pencil shaped letters. That edgy transition of color should be a gradient, but it works for now. A ColorComp submission.

Thanks to Sed4tives for STF_FAUX BEZIER ROTUNDS & Reagan for suggesting the name

While I'm still in a Fontstruct mode, here's a color font derived from Dmitriy's Paris poster suggestion. Usunus (ұсыныс, reads as ooosoonoos) means suggestion. WIP.

This is a font that uses all fontstruct bricks just to showcase the bricks. Used FS colors and the space (yellow) is for when a brick is selected. Might not be useful but I hope at least it will bring a smile to every Fontstruct geek.

Inspired from Tom Hultgren's Traffic but with two layers of color, 45 degree cut.

Opening day of Marvel's Captain America: New World Order movie! 

It's been so long since I've worked on a fontstruction, I forgot how to stack composite bricks. It's like going back to the gym after a long break and I can't do any heavy lifting and I'll be sore from it tomorrow.

This design is very retro Cap. The fill is a throwback to the original Captain America's comic book chain mail suit material. 

STF_OSC-WAVE CYCLES — Pixelated dingbat pictographs
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¶  Over the last two-and-a-half years or so I've excesively been working on this large DIY undertaking, and has been quietly in the making since. This is the development of a custom‒built 17-part hybrid analog/digital multi-synthesis engine and hardware controller.

¶  The main operating system (OS) architecture is assembled for Teensy 4.1 32-bit ARM‒based Cortex M7 (MCU — microcontroller unit). GUI interface is running a Library to control basic graphical functions for 128×64 multi-color LED‒backlit DOT matrix LCD display module. This specifically sets interface pixel grid to 128×64‒sized ratio. Important in understanding the area in which creative decisions are made — required for coding and performed size-check of elements of all screen elements, since pixel‒perfect, in this case is the norm.

¶  This is a set of pixelated dingbat pictographs, consisting of various waveform representations that illustrate periodic function cycles in signal processing, more specifically, sound-synthesis. Intended to supplement a collection of bitmap fonts that eventually will be designed.

¶  Adding multiple tailor-made bitmap fonts — specifically the number of size-interpolation steps for font‒scalability, the different style fonts and additional dingbat sets to further establish various identities of the different GUI-components for now, is one still in ongoing trial-and-error testing.

Cheers

Inspired by Studio Innate's Mayhem and architecture.

Made with the well-known Grafilone typeface (by Bo Berndal) in mind, but more elongated and avoiding its curious roughness. In addition to the basic set of glyphs, some special ones have been added and the Cyrillic alphabet has also been included. The ligatures "ff" and "tt" are located on the characters "ff", "fi" and "fl". Enjoy it, please.

This is just a silly unicase font with alternates, made with simple squares and triangles (and some few other bricks)... But the colours captivated me. I hope you like the result. PS: You can also find an additional colour space (if you need it) in the "|" glyph.

yeah

Some alternates in lower case

Opening day of Guardians of the Galaxy Vol. 3! 
Celebrating with a spacy star filled background texture, bombarded by comets infiltrating multiple dimensional planes of existence. "Guardare" is Italian for Guardian.  

Lowercase font with some alternates (a, e, f, j, m, p, t, w) in the uppercase. The "tt" & "ff" ligatures are at the ""fi" & "ff" glyphs.

STF_NEUE ISAIAH - 70's Art Deco / Streamline style typeface
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Most of the design credits for this font should go toIsaiah Garciasince I took the liberty of revisiting her fontstructionFS Idea

Please check out this member's awesome contributions here:Ivy Meadows (Isaiah Garcia)
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[THE PROCESS]
The one major difference between the two works is the grid size and construction method, Isaiah's version was made using a faux-Bézier approach (very labour intensive) and requires a fairly large design grid, whereas my version is a small grid design, utilizing the circle arc bricks and composites to achieve smoother contour quality, and was done on just a 4x7 grid using 2:2 filter.

This different approach and limitations in small grid designs have led to a number of small changes for certain glyphs. Also have I change some details slightly to my personal preference. But it remains very much Isaiah's design.
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[THE FONT]
I tried to remain as faithful to the original font as possible, and in addition tried to further expand the character set. Most important differences made in my revision are the additional lowercase chatacter set (spurred strokes), the uppercase alternative forms / lowercase alternative forms (spurless) and extra symbols.

Enjoy!

Reloaded and much more complete version of zyrup with a lot of remodeled and new characters (more than 130, full caps set included, plus usual kerning). An extra "y" placed in the "™" sign, and the two original alternate "v" and "w" can also be found now in the "fi" and "fl" glyphs.

It all started as silly, trying to slightly modify the original "@"... and has ended in a practically new font (106 created glyphs, 32 modified, 68 remain intact). Seeing the final result, I think it was worth it, the font grow up. Hope you like this new dress.

Opening day of Ant-Man and the Wasp::Quantumania! So of course, this particular color font needs to emerge in this space and time. Spinning of the concept of quantum tunneling and Hank Pym's Quantum Tunnel van, this font spans multiple realms simultaneously. Shift dimensions at your own risk.

Inspired by some works by the master Philippe Apeloig (especially "Ndebele"; but under an optic much more soft and rounded, searching legibility and unity).

Unicase font with alternates. Special characters: Blank space at the "\", "LT" pair (kerned) at the "fi" ligature and the "TJ" pair is at the "fl" too. Better to see the font at big size. Enjoy and Happy New Year 2023!

This font was initially done as a combination of CMYK colors. Although a lot of time was spent in creating that font, the vibrancy of the letters in a mixture of those colors was a garish nightmare which was difficult to look at. Hence, it is gone.

Still there's a font here somewhere. Hence this toned-down, Not (¬) CMYK version—all of the geometry, less of the disturbia.

PS: AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz0123456789!?@&*(){}[]|/\.,;:'"‘’“”«»<>-+=%|

Every possible permutation of the above glyphs generates 9,025 kerning pairs to be tested. I've only tested 2,994 kerning pairs. Then I lost steam. Whether I got them right or not is a whole another can of worms.

The design process is typical in its atypicality (yes, it is a word, or, at least, should be!).

The atypicality necessitates the telling of the story behind it.

Looking for something to do...something easy to do, I came across the font shown 5th from the top in this article on Dieline. "I can do this," thought I. I did a 2 that looked similar. Based on that, did the 3. 5 6 9. 0 8. 1 7. "Hmm." Add the horizontal stripes. 7. 4? "No." Re-4? "No. Another 4? Perhaps thinner sides?" "Even thinner." "Hmm." Redo 1 2 3 5 6 7 8 9. "Maybe this is better. OK, lets do the letters." Start with Z because it is almost a 2 with minor curve tweak. Do the S. B because 3 is done. A. V. C. E. F L. J. Etc.

The glyphs so far have a 3 horizontal band appearance. Do the lowercase. a is two bands. b is two bands...but how high should the ascender be? Also, the x-height seems wrong. Off somehow. "Can I do a 2 band uppercase with the letter slightly taller. Maybe 2 bricks taller?"

Redo A. Redo B. "No this B is not working." Redo B. Redo B. Redo B. "Hmm. Maybe." Redo C D. Redo E F L. "OK, this might work." Redo to all uppercase letters.

Do the lowercase. "Yes I like the new f." Redo other letters to include the flip. Most of the letters are the same width. "Maybe I can make this a mono-space font." Redo m. Redo M. W. V. "The A looks odd." Redo A. And so on.

The font may have started as a simple thing but it is very different now. "I'll just publish it." "No, I should at least do the basic punctuations." "No this hyphen is too thick." Redo. "Now it is too thin." Redo. "Now it is too wide. But this is mono-space font. The width cannot be altered." +. "That just looks weird." Redo +. Now the - looks off. Redo -. Now they both don't fit with the rest of the font. Redo + -. "No. I'll come back to them." Do [. "No that's too heavy top and bottom." Redo [.  Do (. "This needs a different curve." Redo (. "Can I use this new curve somewhere else?" Redo @. "Hmm." Do ©. Do ®. Do ™. Do “. "I can't make this so wide." Do ‘. "Definately cannot make it mono-space." Redo all punctuation to be their natural width. "This is no longer a mono-space font. Should I redo M m W w to be more natural?" Redo do m. "No this is too much work. I can't be bothered anymore. Let the m's and w's be."

"The punctuation looks niiice. Should I do a font to match these?"

Create New FontStruction

Inspired by Bastard by Barnbrook Fonts and Minotur by cablecomputer