The purpose of this tutorial font is to show all possible brick combinations that can be used to make a composite, both vertically and horizontally, plus the 3 squares.  There are a maximum of 16 total bricks allowed (plus any 

spaces, see below), but a composite may contain as few as 2 bricks.  Please note that the square combinations of [2×2], [3×3] and [4×4] are duplicated in both the vertical and horizontal sets.

Empty spaces *also* count toward the maximum number of allowed bricks, but due to the numerous possible combinations, composites that include empty spaces are not included here.  Simply recognize that you CAN make composites with empty spaces in them, and when bordered by bricks, empty spaces WILL be included in your total composite count...

For example: in the first set of vertical composites [1×2] to [1×16], there are ~1.789 × 10^40 possible combinations that can be generated from the current brick sets (Core set = 241 bricks + Connect set = 86 bricks) plus empty spaces.

And for the simplest composites that can be made -- either [1×2] or [2×1] -- there are 106,929 unique composites (327×327) that can be made for each direction, vertical or horizontal.

It is HIGHLY recommended that you clone this font and use the outline feature to view the resulting composite structures: activate Expert Mode, then use the Keyboard Shortcut "O" to toggle the Outline Mode on and off.

Once a composite is created, don't forget that you may also ERASE bricks from it in a process called "padding." This can help you remove bricks along an edge or corner(s) of your composite.  The following links explain composites in greater detail:

Composite Bricks

Composite Bricks with Padding

As I recently mentioned to another FontStructor, composites are an EXTREMELY powerful tool when creating fonts.  However, the trick in creating them effectively is that you must not only consider HOW you want the resulting brick to look in the end, but also have the foresight to plan which bricks you may need to INCLUDE -- then subsequently ERASE -- from your composite brick to achieve you goal.

Good luck, and Happy FontStructing!  :^)

Angled bricks based on 1:4 // 4:1, also some ready-to-use combos, some straight and angled lines to match the 1:4//4:1 sized bricks, a few 'decorative' elements (could be used to fill lines or counters, or to create entire glyphs) and stacks.

Designed to show how the combos are made as this might help newcomers to understand the technique and enable them to make those they want -- if they can't find them in the excellent tools and sets some members have created. 

I'm hoping that someone can add more related lines, bricks, angles, combos, stacks and then help us by publishing their extended clone.

Here is a gift to the community.

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This is a collection with parts and bits for small grid designs, (5x5 max) Each related to the assembly of smooth and (near) Bézier-like curved shapes and round letterforms. 

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As some of you might very well know, one of FontStruct's holy grail is custom circular and curved forms. I'm talking about those not simply build with off-the-shelf bricks from the standard brick pallet FontStruct is providing.

Making these can be a very difficult process. Since the bricks in the default pallet are a far cry from what is truly possible with some clever use of FontStruct's editor features. Although obviously there remain serious limitations when it comes down to making different curves and round forms, there still is a lot room available to work in.
Most of the seasoned users know and utilize this very well, but, as with each of us, it took time and dedication in order to learn the tricks of the trade!

With a little knowledge, clever thinking and a healthy dose of outside the box thinking one can still get a lot out of FontStruct.

This font is meant to serve as a helping hand and inspirational / educative tool. Providing some insight into making numerous curving and rounded forms, various transitions, achieving different weight contrasts, and how all the various building blocks were aligned in order to make the various parts.

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Most important features used for this process are:
Brick Size filter: Must be changed to a 2×2 value in order to use the elements in this font.
All functions found in the "Modify" menu: Flip rotation and nudge are used to make alignments and to fill up the gaps.
Make composite: (also found in the Modify menu) This function will mainly be used to do two tasks, resize, modify/distort brick shape,
placement and orientation of bricks within the brick grid square for the required given composite.

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The font itself contains a collection of different premade elements divided into 3 main groups that I will list bellow. And can be found in the uppercase, lowercase and numerals sections.

[Uppercase]  Various pre-assembled variations of the letter O, to demonstrate different variations for a round letterform. These were sub-divided and grouped according to their relative height!
[Lowercase] "Copy & Paste"-ready isolated parts 'n bits (curve segments, terminals) aimed at re-constructing and use in your own projects
[Numerals] Various random examples of letters that have curved/round features implemented in some way.

A fonts height probably is the most dictating parameter in type design in terms of behavior and appearance. Therefor, with the collection of pre-build vatiations of the letter "O", I choose its relative height to further sub-divide them in, rather than weight, since these are already completed letterforms. This makes up for the easiest access to a "drag/drop" adaptation into one's own project and build a full font based upon it, mainly for those that come with only limited experience.

This tool is to make one's FontStuct experience a little easier or to save time. So feel free to clone it and use the content however you like.
Re-use any of the provided elements, copy/paste the letter examples into your own fonts, deconstruct and re-use the various parts. Or simply just take a peek under the hood to see how they were build, This can be done via the "Menu>View>'Outline' " function.

There are no restrictions to how the content is used.

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More additional curve variations and different related other elements will be added soon. I have to select them from my various random works and this takes some time. Please stick with me on this one.

The intent is to try keeping this a ongoing project, so hopefully many more updates will follow and eventually turn this into a "all-in-one" tool for small grid designs. So far I also have plans for including a collection with different serif style, but this is something for a future update as well!

For now, curvatures it is!

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Note that, all content and forms in this font were created by myself and were gather from the various projects I have made, most came from published works, but some were taken from private material as well. We all here work with the same tool + limited brick set, so I am pretty sure certain elements in here were done exactly the same way by other users. Please don't accuse me of using others or your material without approval, this is just a case of unfortunate coincidence.

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[Usage]

The elements are best used by way of copying them from this into your personal projects, and work with it from there! This because the "My Bricks" pallet in this font is messy, probably very uncomfortable to work with as is. Copy & pasting them into your own font re-arranges the selected brick set for that segment into your own font's "My Bricks" pallet, making it much easier to get sense of its individual bricks.

Another very important thing is, I strongly advice not to nudge any of these what so ever, unless investigated its composition first. And I cannot rephrase this enough, seriously, never, or brace yourself for absolute dire results!
This due to the numerous counter-rotated or different directions of nudged 'into place' elements that make up a complete segment.

There are some elements included that at first seems to be looking like doubles, with onother one looking exactly the same. This is right, but these are constructed using different configurations of bricks. The reason for this is to provide alternative configurations for them. Some scenario's can make one approach to be working just fine, and the other simply not. This all hangs in strong correlation with the current nearby configuration of bricks, and simply depends on the whatever spot still remains unused in the surrounding grid. Since available grid locations to start working from are usually very limited. Its like this, Taller and/or wider letterforms meaning more available space to work from and place your bricks, but the smaller you go, the more scarce space becomes, simple as that.

So best is to use and work with this tool on a copy of your current glyph to verify no bricks will be raplaced and ruin the current glyps, and only to replace the original glyph once you're absolutely sure everything worked out well together.

If something else isn't clear or if you have any questions in regard to this tool, feel free to ask those in the comment section bellow.

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One final thing, beware that some of this elements can possibly influence the font vertical metrics (font size and leading/vertical spacing) and create addition extra line spacing. As well as the letter width. So be sure to allways double check those two when u use any of this.

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PS: My apologies for the "too much" of a explanation above, lol.

Happy structing,

cheers

Shading chart for people willing to try out shading.

Numbers indicate brick number (may not be accurate, but who cares).

Identical bricks have been skipped...

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 ..:*:..

These are intended to be used as distance guides. This tool/tutorial/ressource will help members, as it will avoid your wasting time on counting pixels ;) specially useful when you want to set know height/width of a glyph that is larger than the open window of the FontStructor Grid.

Copy and paste the lines that have the dimensions you need  -add more lines if your glyphs are higher/wider than the lines I show-,  to the left of the blue line and/or below the base line; put them  at 3 px distance so that they don't interfere with your work ;)

You only need to paste the lines once ;), into one of the spaces on the glyph band (putting them on a glyph slot that you don't use, it"ll be there for reference even when you switch off the green Extra Guides. Just remember to erase the lines when you've finished your font so that the lines won't disturb you when testing the font in the preview and won't stay when the finished font is being used.

This tool will avoid you having to spend time counting height and width when you want to know the dimensions of your glyph or of one you've cloned. Useful also when you have to make a font that is higher than the working space you give to your Fontstructor Grid, and when a FontStruct competition sets a certain dimension for glyphs, usually 48px (but do read the competition information!!), you'll have the dimensions ready-to-apply.