I joined Fontstruct to get special fonts for greeting cards I made. Over the years I have learned a lot from seeing the incredible variety of fonts created by members who are using just simple bricks, artistic experiments and a lot of patience; when cloning is allowed I can see and understand fine details to help me develop further, increase my confidence and stimulate my imagination.
I love to design and make fonts for family, friends, for special occasions, and to replace some of those more 'usual' basic fonts on my computer :)
Fontstructing since | 15th July, 2011 |
Fontstructions | 299 shared, 21 staff picks |
Shared Glyphs | 39211 |
Downloads | 3502 downloads made of this designer’s work |
Comments Made | 2830 |
Reverse in the visual context can mean many things. I decided to create letters and mirrored them, attaching them to a spine.The letters looked like filigree jewellery pendants.
I know that the I , T and W don't follow the design rule; I tried to align them on a spine but the result was unsatisfactory.
This is a cloneInspired by a Blackletter font in which I saw Art Deco qualities. The name comes from Norse/Viking mythology. It's great for headlines/titles and works nicely as majuscles for slab sans serif fonts.
No DL for this particular design but the initial font design will be tidied (has Latin & MoreLatin only) and made available before the end of next week.
For Sándor. The font has upper and lower case. Having 'played' with the baselines for the letters I decided that this font looked better with LC letters aligned at the top rather than on the base line. The font has basic Latin and most glyphs of the more Latin set, and I added the Polish diacritics.
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?!
This is a clone of MasterClass 1I love the traditional French biscuits made on the French west coast where Loire meets Atlantic.
The biscuits are thin, crunchy, light, not too large, not very sweet, melt on the tongue, and biscuits very like the original can be made/baked quite easily.
The traditional version has a limited range of letters, enough to write the name of town, manufacturer and product. I've been unsuccessful in finding an image of the font which contributed just a few letters to decorate these biscuits.
I spent some time looking at other type of the Victorian/Art Nouveau era until I had collected enough information to help me design the missing letters. I added the French diacritics, naturally. I think my additions look successful and the whole font looks quite Art Neauveau and in the style used originally.
The square brackets [ and ] make a biscuit shape when used 'blank'.
Bon appetit, enjoy your "Biscuit de l'Ouest".
This is a clone of Petit BiscuitAenvidere (the normal weight version) still needs fine-tuning and kerning. That will come, eventually :) At the moment I'm quite busy doing too many things concurrently.
Check the font description for AlexGar-Aenvidere 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.
Designed for those members who want inspiration, it could guide them when they need ideas on which to base a font.
Use this like a font: close your eyes and type a 'word' with at least 7 letters.
If you can touch-type: forget it; you'll need to be quite unstructured in order to get a good variation of letters every time you want inspiration ;) If you want some uncertainty -bad spelling will be very helpful here;)- you could write the 'name' of the minute when you decided to get inspiration for a new font , inUpperCase ... then follow this with one of your names in LowerCase. But for fun and better chance at not getting the same word every time you need inspiration I suggest you just hit different keys and then look at the line of glyphs ;)
Just remember: use UpperCase to write the first part of this word, the LowerCase to write the other part of the word. Look at the [second or] fourth and the [penultimate or] third before last letter of your 'word'.
The UC will give you an 'image'. Your font will transmit the meaning illustrated by this letter (in the widest sense).
The LC gives the type of look your font should have. You now have 2 guides/ideas/starting points which influence the kind of font you make.
Remember that the UC should make you look at concepts, invisible messages and your own experience or lack of 'ken', as well as the visible things in the images I drew.
To express that differently:
Your font design is guided by a main theme (based on the UC) and a way to present it/a style of expression (based on the LC).The font will be influenced a little or a lot by each UC 'image'; you adjust the look of your font according to the "feeling"/a memory/a dream or wish/an experience/lack of familiarity that you have about what that which my playful pixel illustration represents.
The presentation of the font, the style, how the eye slides across to absorb information or spends time to investigate the beauty or quality of every glyph, is determined by the LC. Combine these two aspects from UC and LC, that"s what your font will convey through the shapes of th glyphs.
In my 'comment' below I give you a few ideas of what could be linked to each of the UC letters; it's up to your areas of study, experience, interest, and the time you want to use for designing and building your fonts, which -if any- of the proposed words and concepts I mention will be the one(s) you want to combine with the type of presentation you found in the LC letter.
Choose a good name for your font, it's probably a good idea to have a name that isn't the keyword I gave in the UC list -- I can imagine that those key words have long been taken by font designers for their fonts.
Note: the "INSPIRED FONT" is still in development; when I have more illustrations for objects, situations, feelings etc or styles of presentation (I am open to suggestions!) I will try to find a suitable design to add to the glyphs as there are still a few empty slots in the Basic Latin set ;)
..:*:.. Have fun ..:*:..
I wanted to try some 'deformation' of the perspective used for italic glyphs. It was fun to try, the font looks amusing and the slants are irreverent enough. I know that a word processor could change Raysan into an italic style but a word processed Raysan would be too predictable and without creative spark.
Despite the purposeful changing of lines specially the curved sections which don't follow any "perspective rule" this font looks italic. It has a pleasant rythm in longer headlines etc, and gives eye catching 'splash' text when used with the parent font.
It took quite a while to finish, I constantly fought the wish to make composites and stacks to get the correct shape and directions into the curves.
This is a clone of RaysanWe used to have sheep and I wanted a sheepy font for a project. The sheep have quite clear letters in smaller size but the sheepy shape is less obvious. This is my first font and I will improve it to get a better shape/outline (thankyou to Fontstruct).
I was looking for some "decorative" glyphs to embellish greeting cards' frames; having come across one of my Greek sets I decided to make the whole Greek alphabet rather than stop at the 7 symbols I liked for my project.
I was playing with tiles and designed this font as units to create visual texture. Hiding letters in them came to me by accident when I did an overlay instead of a straight copy-paste. The letters are pleasently difficult to see - but for tiling interesting units in large sizes this font should be suitable.