Not just a tad thicker lines but additionally I have changed quite a few glyphs' edges and even shapes. But I've maintained the original width of letters (exeptions: l, m, t, r, w,  @) and numerals to allow using glyps of this clone as a kind of majuscule with Melusine.

Upgraded version of Aenvidere (which is the original 'normal weight' version) made for one of my grandsons. The glyphs in this version have lines of different thicknesses which seems to make them and any text more interesting to look at, yet it continues to be elegant.

Numerals are taller than other glyphs, I wonder if a larger letter space might 'integrate' them more when used in a line of text?

Kerning has been done where necessary = on very few pairs: T+some LCs and F+some LCs but not yet on T and F with the corresponding diacritics; also done are TJ and LT. The "f" has been moved in the grid, and "f" and "l" have adjusted letter space. I think that the shape of the glyphs (with and without adjusting their positions/letter space) reduces greatly the need for kerning. Having said all that I'll print some text to check and will adjust kerning where necessary ---at a later date.

This is the most advanced version of Aenvidere (due to kerning), the other published versions will be kerned at a later date. I'm showing them nevertheless so that you can compare versions.

Thicker lines than Aenvidere AGardin. This is quite chunky. Yet it remains rather (good looking and) elegant. Kerning has to be done (check details of this in the font description on Aenvidere AGardin)

For fun. I'll add a few punctuation marks/symbols and numerals later.

Aenvidere (the normal weight version) still needs fine-tuning and kerning, still. That will come, eventually :) At the moment I'm quite busy doing too many things concurrently.

Check the font description for Aenvidere AGardin for details.

At a later date I'll publish a squared-off version of this. Aenvidere SQ will have the same glyph style but will be wider than the other versions which might make it less useful as a "tool" to attract attention when added as splash insert in text that uses another Aenvidere version.

Glyphs that haven't yet managed to assemble their lines ;)

As I like the glyphs' shapes of midi-trente etc I let myself be inspired by fonts in FS 'op art' set to get an additional style for  the "midi" series.

I love the look of this style. The name is self explanatory ;) if you know French.........

UC, numerals and some symbols have one line thicker than the others, LC only has the thinner lines. LC can be used on its own if even thickness of lines is desired but it is 3 px shorter than UC which will show clearly when using Basic Latin LC in combination with Hebrew, numerals, some symbols and some punctuation marks. Cyrillic and Hebrew added. Latin1 will come soon.

no description -- no filters -- no nudging -- no idea ;)

and not finished yet.

This is my 3rd entry for the countercomp:note that this is derived from "MIDI-TRENTE". The  actual letters, numbers etc have the same height as those on the plates of Midi-Trente.

This version frustrated me when I started it, every glyph previously on a plate required moving and adjusting their letter space (I  have problems seeing the extremely pale grid lines to place letter width correctly): letter space was huge, I suspect this was linked to coming from Midi-Trente where every plate takes up 43x43 px and the letter spacing didn't automatically  adjust to the narrower simple glyphs' requirements.

To make the font more useful I've added almost 200 glyphs to this version. One of them is a design --possibly not an official dingbat in Unicode-- to indicate "e-mail" as many people now give e-mail addresses and don't expect to receive a paper envolpe with stamp as the well known dingbat for "mail/letter/address" shows.

This font was inspired by crockery decorated with a name which I saw offered in a car boot sale. My font's UC has delicately decorated glyps, visible before food is placed on the plates; LC shows plates after the meal, with food remnants covering/filling parts of glyphs  ;)

LOREM IPSUM EXITANTUM EST

I found adding the numbers and punctuation marks quite difficult: not only the actual shapes of the bricks and composites and how they join but because keeping the visual effects of joining and linking was surprisingly complicated as I wanted everything to match the feel of the parent font as closely as possible.

I hope the original designer signs in soon and lets me know what he thinks of the Latin  numerals extension and the additions so that I know I did a reasonable job.

For the moment this is the final version of Syngrapheis, reasonably extended. I'll add basic Greek and basic Cyrillic later because I think that the glyph shapes will look good in those writing systems. I've changed the 'g' since the sampler. I wish to offer this version to Google later so if you see any mistakes, strays or breaks etc please let me know.

Buchstaben auf Rollen ... just for fun ... alternative A, K, N and W on LC. WorkInProgress

Just showing some new-ish work. Made in memory of my favourite aunt. The UC "O" size is 13x25 px. This font doesn't use filters.

More than just a little inspired by cookielord's scanlines, mattyou's tripo and by jirinvk's overlay styles that create a complete visual when used together.

@This is an extended version of Ostara Aria and more elaborate than the "Kerbe" designs. I changed the look of the LC and adjusted some of the UC.

Now the UC lace is better structured and distributed; glyphs A,N,M,U,V,X,Yand their LC, and @,7 and quotation marks have changed shape slightly; missing glyphs on the More Latin set (and the entire ExtendedLatin1 for my family, friends and aquaintances across Europe) needed quite some work due to the ornate sections - I hadn't planned on making this many glyphs, the ornate look  was just intended for display UC of English, German and French and not for any other glyphs. Getting diacritics to look good with the decorated UC glyphs was a challenge but I think the ones I've decided to use don't overdo the ornateness nor distract from the glyph's shape.

Due to the new glyphs and diacritics I should have added 1 pixel height to accommodate the decorative lace element more obviously. Instead I changed some shape-rules ever so slightly to have an easier time adding the lace brick.

The LC is now solid black; diacritics have some added lace to integrate better in the  design. The LC gives a separate font which might be of interest for headlines, advertising, on signs, cut to sew on fabric etc.

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Note that there are still some adjustments/spacing needed; the kerning isn't finished yet either. I'm publishing this to get constructive comments  -- and praise ;)    

[youmoor]I plead for an algorythm that allows one strange/incomplete comment or (psychosocial) pinaillage for every 1 or 2 sincere (++explained) praises :D   Applicable not every minute of the year you understand, only from GMT 0:001h Mondays to GMT 23:599h Sundays [/yoomoor].

The font's name is Malagache. 

Done to the level of actual useability ;) Although I can't see this one being integrated into world renowned computer operating systems..........................

Not a font but a fast way of getting a whole word written with the touch of one single keyboard key.

CHRISTMAS / YULE in several languages, using the Latin alphabet. Ideal for use in play groups etc. Great for printing, cutting out and then decorating the letters ;)

French

German

Dutch

Danish/Swedish/Norwegian

Spanish

Welsh

English

Hungarian

Portugese; Gujarati, Marathi,  Indonesian

Finnish

Maori

Italian, Corsican

Breton

Greek

Icelandic

Hindi

Sanskrit

Irish, Gaelig

Japanese

Esperanto

Latin

Turkish

Scots

Just testing an idea. So far it has given me 2 eye aches ;) and has worn down the Fonstruct eraser to a small chunk. I'll add some more glyphs when Meek has put a big jar of new erasers into the Fontstructor  :D WIP

Made to print some decorative corners on A4 sheets; this will make a novel Yule gift for someone lucky enough to know me ;)

Of course it could also be used as a code:D

The painting in the sampler is from Wikimedia:  the "Villa Petraia". I'll add more diacritics when I know which language(s) my friends want to see supported.

Ideal for colouring in so it's a great 'tool' for letter work in playgroup and primary school with the added benefit of introducing the idea of serifs which links into historical lettering systems.

Inspiration for this came from Portsmouth.

Initially made for NW & SW European members' languages this typeface has grown over time to include glyphs for most European languages. My friend Ray will be happy to see Welsh and my friend Johneen can write in Maori :)

Thanks to TCWhite I've found the 2E2E point to place my favourite punctuation/symbol correctly.

I've sent this to be rewiewed for Google Fonts. Having done so I'm stuck, I don't know how to proceed there: how can I get people to look at it, comment?!

One of those strange designs that sit in my note pad for ages and suddenly decides to  become useful :)