This typeface was created based on the theme of confidence and all about being flamboyant. Excess serifs are a fantastic way to present boldness in this form, so my aim was to create a sharp typeface with unnecessarily long serifs at the end of letters. The name emergent came from the idea that my font, with its shadow and serifs, should emerge and become prominent. It is emergent.
This is a cloneSee more:
https://fontstruct.com/fontstructions/show/232626/fuzz_5
https://fontstruct.com/fontstructions/show/648499/video_font_system
This is a clone of Fade of the Second GenerationThis is originally inspired by a typeface i've seen on a wedding/congratulation card. In the process of crafting the glyphs it turned out more and more like a font, perfect for horror, goth emo stuff. A little bit as you know them from Tim Burton movies/introductions. So this is why it's name is an homage to Tim Burton and his morbid, ingenious and unique way of visualising movies. Enjoy! Harr, harr... It also contains some ligatures (which i integrated into the sample) and alternative glyphs. Like for example an "o" without thedecoration in the middle... Alternative "a" = @ Alternative "z" = $ Alternative "o" = % Alternative "j" = ] Double "t" = # Double "f" = | Double "l" = _
This is one of the ways I've always wanted to use layering in Fontstruct. Finally, it's possible :) Just a quick font to test the new feature - a grey shadow (ligh source from left to right) that is cast on inner white space of the letters.
P.S. I won't be able to sleep today, so many ideas to test... Thank you, Rob!
The main dialog font ("bigfont" in the source code in source/font.h) from the Project Infinity GB demo 1.0.0, with the drop shadow in place. Distributed under the same license as the Infinity GB source code, CC-BY-NC-SA.
Note that the drop shadow of the 'D' is different from the actual game, which has a 1-pixel error in the drop shadow there. Here, it is corrected.
I based this typeface off the theme of introversion, and so went about creating a font that worked from the idea of the unseen, less obvious shadows of the letterforms, using arrows and angles to continue the theme of what is internal and not what the eye sees immediately.