When my mother was young (and specially after my birth) she supplemented the family's income from home by typing for students and businesses. When I was a student I used the same machine for my assignments, lesson plans and thesis. The years were not kind to the machine, the mechanics rusted or broke, the letters worn with frayed edges or disintegrating serifs and fine lines. Ruth's typewriter is a declaration of my appreciation of many years of service the brave little machine gave... As you can see I clearly didn't get the letters repaired ;) The font looks like I rearranged and glued down what was left of the raised surfaces, to continue using the typewriter and give my words a very modern look ;)) A "grunge-writer" ?? Did you notice that no typewriters were ever sold with this kind of modern destructured typefaces?! ;)
Since I started this font many years ago (Ruth was very amused and appreciated this hommage) this work has now become a memorial to her
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.
This is a clone of AenvidereThicker 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)
This is a clone of Aenvidere StiloAenvidere (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.
Listening to cricket matches I saw a lot of trajectories in my mind when commentators discussed the balls' flight paths and where they landed, of some incredible bowling.
What a great inspiration for my first entry for the ReverseComp.
Maximum rectangle size is 16x20. The LC contains the flipped reversed UC.
I see many white-in-black designs coming in, I'm adding to them as we don't see this type very often ;)
I think that I managed to give the "impression" of those occasional graphics displayed in cricket, football, tennis and other ball-based sports (it might be hawk-eye linked) that show where balls have originated from or to predict/illustrate their continuation.
A blank space is on the underscore, a filled space on the space bar.
Numerals and very basic punctuation are done :)
Dark Tokken was inspired by Maren Winter's novel about a Tokkenspieler. I know that this design is far from looking like the styles of writing popular at the time when the story was supposed to have happened. I adjusted some lines of this version compared to a previous one, added real LC, numbers and More Latin diacritics :) as I want to print bottle labels with this.
I made the old style sz for the ß, and placed the alternate modern ß on the °.
This is a cloneI finally made it: the font based on the few letters that my favourite Biscuit carries.
I wanted such a font to add to my font collection of unusual or art-craft-themed fonts (started when we had our first internet-capable computer in 1999). As I couldn't find this font I looked at Art Nouveau and AArt Deco style fonts, also at furniture and wall papers of that period --- that kind of guided me when working on the 'missing' letters of this font which must have been designed before it could be chosen for the biscuits, and which I neither have found nor do I know its real name.
The UC are on biscuits. The LC are only the letters, on the level they have on the biscuits to enable a kind of 'Majuscle' arrangement for texts.
Diacritics of more Latin are done, also useful symbols and punctuation. A crumb-free "+" is on the "%", a biscuit with surface dips is on the "(" and one with a flat surface is on the ")". The square brackets, when used without a space or letters, will make into a narrower biscuit, and are also used like round brackets.
Just in time for the "Olympic August", this font is perfect for all sports enthousiasts specially for(followers of) team sports. The font is great for posters and invitations, too. It is ideal for colouring in. Make a blank t-shirt with round neck line by using "[" plus "]".
A while ago I designed the Circe family; it is quite elegant and fine. This new version, based on Circe1, has thicker lines without being bold. This meant changing a few letter shapes and lines. While it can be used with the others I would discourage mixing the normal weight versions with this one due to the structural changes to many letters.
This is a cloneI 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 BiscuitThis is the first font of a "set" which I'll publish on or just before the 1st day of every month, for a year.
This design started out with a blocky look on thick bases to create a kind of joined-up look.
But a glitch on 2 glyphs gave the gap, which I liked upon reflection and recreated on all glyphs. I adjusted spacing and some drops below the baseline.
It is cloneable because I'm sure that my fellow Fontstructors can add great glyphs to make it more useful. The font could do with more symbols, punctuation and some basic diacritics ;)
Decorated cups on UC (blanks: left-handed cup on L, right-handed cup on R, bowl on O). LC letters are from my "unstraight" font. To make twin-handled UC and LC cups: type left bracket followed by the chosen UC or LC cup. A blank twin-handled cup is on "." Numbers are on Japanese style tea bowls :)
Decorative font in 'basic' and 'more' Latin. It's crisp and spacious, allowing easy reading at smaller point sizes from 10 upwards. I have not checked how large it can get before the building bricks become disturbing in the flow of the edges. It can be used in conjuction with my "Ritual Minutes" which has no descenders on the UC and LC. Not sure if this is more of an 'Art Nouveau' design or points more towards a generalised 'Victorian-ish'. It doesn't really matter, someone will find the perfect text to show its visual qualities ;) NOTE: the space is reduced to something like 1/2 letter width. To get a 'good' space between words you need to hit the space key twice. Do you think this is acceptable? Or should I increase the space?
We 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).