Perhaps it is lack of motivation, or running out of ideas, or over abundance of streaming services, or the creeping up of age, or just plain laziness, but making new fonts gets harder and harder each day. And finish.
This font and tm Nibble started off as one. Both were different from what they have now become. The idea was to create a very heavy, minimal curves and angles to give a sense of the glyph.
It started with a plain N and a solid O. Making the E match either the N or the O resulted in deviation from the style just enough that it warranted a spin-off into a font of it's own.
Some letters—such as G and H—proved quite difficult to match in the style of either. A slight angle shift resulted in a glyph that did not go with other glyphs. I kept trying different possibilities...and at some point decided to save the discarded option into another fs, which now contains more than 200 characters.
The teardrop counter in tm Byte forced a complete redraw of all glyphs at about 2× the size.
I am already working on two additional fonts that came out of this exercise...and it might yield more.
This font and tm Byte started off as one. Both were different from what they have now become. The idea was to create a very heavy, minimal curves and angles to give a sense of the glyph.
It started with a plain N and a solid O. Making the E match either the N or the O resulted in deviation from the style just enough that it warranted a spin-off into a font of it's own.
Some letters—such as G and H—proved quite difficult to match in the style of either. A slight angle shift resulted in a glyph that did not go with other glyphs. I kept trying different possibilities...and at some point decided to save the discarded option into another fs, which now contains more than 200 characters.
The teardrop counter in tm Byte forced a complete redraw of all glyphs at about 2× the size.
I am already working on two additional fonts that came out of this exercise...and it might yield more.
Ten years ago, a StumbleUpon Fontstruct on April 8, 2008 has been one of the highlights of my life. Few things have provided so much joy and fewer things have kept my interest for so long. Type design has always been a fascination for me and the simplicity of the UI/UX of fontstruct has allowed me to explore all that I can imagine without getting in the way while letting me do as I please for the most part. In times of creativity, fontstruct was there to let it flow, and in times of personal lows, fontstruct was there to allow me to ignore that which was beyond my control. Furthermore, the overall civility and helpful nature of the fontstruct community is still one of the best on the internet. I have been using the fontstruct website almost daily for 10 years now and rarely do I not see something new that is amazing and awe inspiring. The creativity of the designers past and present is incredible.
I wish to thank FontShop for sponsoring fontstruct for so long allowing it to grow. Most importantly, I wish to thank Mr. Meek for creating and constantly enhancing this incredible gift of creativity and a calming haven for over-active minds.
Thank you.
Make the letters any width desired.
Type the uppercase letter for the left half of the letter, type an extender (or not), then type the same lowercase letter for the right half of the letter. The more extenders are inserted between the left and the right halves, the wider the letter becomes.
I and T are the exceptions where the extenders are typed before and after the left and right halves and not inbetween.
The other exceptions are M and W which have been split into 3 and extenders are added between the left, middle and right thirds.
? is split between ? and /
Extenders are located at @ # $ % ^ & * ( ) and _
How to extend:
A@@a, B##b, C$$c, D$$d, E##e, F%%f, G$$g, H^^h, &&Ii&&, J**j or J**$$j, K^^k, L**l, M(({((m, N((n, O$$o, P@@p, Q$$q, R%%r, S##s, (((Tt))), U**u, V**v, W**}**w, X^^x, Y^^y, Z__z, ?@@/
I love these kinds of fonts that have geometric puzzle-solving quality in the design. I was quite happy with how the lowercase found a way to be connected. Then I thought let me not mess with anything else. But a Z is so much like a 2, so I created the 2 out of the Z. Then when 2 was done, I was aprehensive of tackling the 1 because the vertical stem would be off by one brick, and how would that be resolved. Reluctantly I tried it...and it worked. 3 can be created from the B, but the B hasn't been created yet. OK, I guess I have to do the uppercase. A was easy. B was surpringly easy. Which gave me motivation to go on. And surprisingly soon, the whole thing came together. The hardest letters to shape were X and S. Not all letters are very successful, but they are distinctive enough to be recognized as themselves. Not sure about the =, but it will do, I suppose. In any case, no kerning required.