LC 2 px high, 9 px wide. LC are 8 high 9 wide except for glyphs with a curved base which are half a pixel below what might be expected. Numbers have varying heights for aesthetic reasons, not because I'm blind, careless or incompetent.
.:*:.:*:.:*:.:*:.:*:.:*:. just saying - because I have this aversion regarding people wanting me to think like them, make fonts like theirs or like they expect. Maybe they don't want or can't understand originality, avant-garde work or just a font that has individuality?
Il mondo è bello perché è vario.
In der Kreativität entsteht Fortschritt.
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Kreativität bezeichnet die Fähigkeit intelligenter Lebewesen, neue und ungewöhnliche Lösungen für Problemstellungen zu finden. Voraussetzung für Kreativität ist die Fähigkeit, Dinge und Vorgehensweisen frei und neu kombinieren und entwickeln zu können. Ein wesentlicher Bestandteil ist oft die Fähigkeit, produktiv gegen Regeln zu denken und zu handeln (also: nicht nur zu kombinieren) und damit auch neue Regeln aufzustellen.
Another example of glyphs acting as the counter in a space, and this space filling the usual "glyph's white space" in the way the counters were described for the competition.
This might be called a "negative counter" design. Alternative 'Y' is on 'y'. Countercomp entry 2.
Second and probably last entry for the serif comp, I've run out of ideas (already).
At last it's possible to have a serif on every glyph used!
Serif comp entry number1. No numbers nor any other glyphs at the moment as I'm working on various important projects. For now I pronounce this font finished as it's perfectly useable for posters, signs, parties, made for use in English speaking countries or for use in languages that can get by without their specific diacritics and other glyphs.
Sorry my dear European families and friends, we'll get our own cultural heritages honoured with our own glyphs after this competition is over as it does take time, effort, patience and designing to make them.
I wonder how long before this font is downvoted without a constructively useful observation --- simply because it was designed by me who critized someone's attitude regarding his lack of respect for another Fontstructor's absolute right to be an individual and create a font exactly how he/she wants it to be.
This is based on a beautiful copper-wood-stained glass door of an Art Nouveau building, letters Q, O and Y were the first ones to echo the door's design. The other glyphs needed more thinking about and experimentig to maintain the style.
I still have to make diacritics used in my favourite languages. The LC will be like the UC because it makes typing easier. I'll work on it in December to get it finished for greeting cards. For the moment this stays All Rights Reserved.
Reading forum comments I know that there are fonts using 1single brick in over 14k glyph places. As I believe that one font of the type described above is enough for FontStruct I decided to not add another pack of samesame ... But I wanted to discover if there is satisfaction in such an activity, if spending a lot of time ignoring my family and home life gives a valuable important result. Strangely I found the exercise irritating and entirely unsatisfactory, a waste of time, effort, ressources. I admit that looking busy in FS for an hour or so got me out of doing unpleasant work at home.
Having spent all that time it seemed logical to offer Codélire (feel free to understand this name as you think appropriate to your way of life) to you my appreciated reader-of-font-description. There is no warranty nor promise included with this font by-the-way.
What puzzled me?
Some of our members make vitriolic comments under fonts with visually unusual or even 'undecipherable' strangely-shaped glyphs. It amazes me every time I read such criticism under a font that isn't for a conlang
Where's the difference? Is it just the tag that makes a font useful (ex.for a conlang) or deserving disdain and thoughtlessness? Looking at the pure visuals of these two types of font I opine that comments should be made justly. Why accept some fonts with this kind of visual and deny the right to exist peacefully to others with the same look is beyond me. Strange that both look the same but only one type is useless, a waste of time to download and that it was a waste of time to make in the first place, isn't a real font, isn't legible, or that the glyphs need tidying up to conform to some image of what a letter/numeral/punctuation mark/symbol should look like to be legible.
Strange that these 'non-constructed' 14k+ fonts mentioned at the beginning of this "description" passage aren't subjected to the same unkind words. To me they are even less 'legible' than fonts for conlangs, fonts with phantasy 'contents' as glyphs and beginners' trial/exercise designs. I wonder why those "different" looking non-conlang fonts should have less right to exist or be appreciated for their beauty and expressiveness, why they are seen as less valid and valuable than the so-called "code-fonts" using a single-brick, and the many conlang and phantasy fonts.
Which one of those FS members well-known for comments as described above, knows what they are doing and why when they comment on fonts they don't (want to) understand; who among them has the ability, conscience, awareness and/or knowledge to explain this discrepancy to me?
I expect I'll be disappointed.
Following a disregard of my wishes by 'someone' I have decided that this font won't be downloadable nor to add the numerals I started to work on; those already made have been removed and logically "Albern" won't get the missing Basic Latin letters, symbols and those in More Latin I make for fonts I need for projects - even though I had planned on including them for members using French, Italian and German.
I apologise to those who like the font enough to want it downloadable. If I were to add the numerals I started to work on when I published "Albern" it will feel as if I 'obeyed' the writer of unwanted unsollicited "advice" (see below) which in fact was a badly disguised 'request' to have me add them. I will continue work on this font as I might use it for more than gift tags, greeting cards, and that party invitations and place cards will amuse.
The present version of "Albern" stays in FS to hopefully inspire members and encourage to explore unusual brick combinations.
Made for fun, I wanted glyphs with the look of 'construction' to write a name on a gift tag. Even though it looks simple like a child's work it required 25 minutes and several half-saves plus time to restart the computer after an annoying browser crash. This design will end up in my collection of pixel brick work.
This had the look of the original reverse-comp entry. Then the save ignored me, as you can see. Another of my basic fonts died in silence. Again.
Thinking about an easy and fast-to-do holiday activity for my young grandsons I started making basic majuscules to colour in and cut out, inspired by some fonts in the reversecomp.
Taking the idea of "reverse" to a heady level of crazy ;) It's based on 'Solstice Wege'.
I know it's the clone of the WEGE version but it still took some time to flipand/reverse parts of each glyph to obtain an interesting visual without having something hopelessly messy ... I enjoyed flipping and reversing to deconstruct the original to get a disrupted look while maintaining aesthetics.3rd entry for the reversecompThis is a clone of n8 Solstice Wege
Here you can see my headache relating to composites for the new bricks. The 4-way link shows that our present 16 brick limit for composites is insufficient if we want precision joins. I discovered this also with the 1 and 3 linebricks. I wonder how Meek managed to create the bricks ;)
This is the 'positive' version to the 'negative design' n8 Solstice versions and shows that the boxy look seen there is softened through curves and airy lines. There is a lot of charme and elegance in the glyphs. The Q, Z and 2 gave me so many problems in the parent font, here we see why; I think I succeeded using the decorated boxes I introduced in the parent font, to create interesting slanted lines in some glyphs that can have tricky slants. This isn't for the reversecomp even though I made it after the Solstice versions white-on-black.This is a clone of n8 Solstice Wege
I had thought of making this my 2nd competition entry but while it's attractive it lacks something.
It shows all horizontal and vertical lines that weren't placed in its parent font "n8 Solstice noir". But the font itself still uses white cut-outs in a a black rectangle.
Somehow this presentation reminds me of a lino print, stencil, photographic negative.
The original font didn't disturb me, this design however kept nagging me, wanting to get out as a positive. I couldn't resist this demand and turned its clone into the usual black-on-white presentation 'Solstice Day'This is a clone
My 2nd entry for the competition.
This started as a doodle of a strangely shaped Z and a number 2 with slanted links created by unusual shapes. I also tried to design certain letters with lines that broke with tradition, but which could somehow still be added by the mind. A little in the style of the "join the dots" games my grandsons like.
I enjoyed the challenge, setting corners and seeing the horizontal and vertical lines in my mind. It made me look carefully at the internal structure which often wasn't easy to see due to these many gaps. That's when I started adding circles, they gave sense to the inexistant striped lines and helped me see several mistakes concerning line heights and how the conneting bricks would join up, which took another hour or three to get right.
In the end I cloned this design and filled the missing horizontal and vertical lines to make sure all heights were correct -- and told myself that I could have started building this font with all lines first, then change the straight lines into black bricks. But I believe that starting with the join-the-dots idea to build this version made me look more intensely at possible shapes and ways to join them, creating slanted lines inherent to some glyphs in a more artistic way which I found satisfying once I had finished the font.This is a clone of n8 Solstice Wege
I decided that turning a "usual black-on-white" font would be a good way to reverse a font; hence some glyphs are easier to understand than others. I think that artistic minds will enjoy the graphic feel of the quirkiness :)
For some a certain type of (future) text I'll use some of the more abstract looking glyphs as decorative inserts and frames.
The font's name is taken from The Emerald Tablet.
my second font is based on cooking stew over an open fire. It took a while to design a cauldron that could hold a capital. Being tired I only found straggly thin wooden sticks to make into small letters etc.
My first try. I am sure I'll like using Fontstruct.
This design looks chunky and earthy, as if poked into damp soil with the end of a broken branch.
*Just waving to my friends whose carefully managed wild garden allowed peaceful walks and discovery of nature and self, followed by great food, long discussions and fabulous music*