18583236
Published: 5th November, 2010
Last edited: 5th November, 2010
Created: 4th November, 2010
Typeface initially based on the theme of decay, getting inspiration from the look of old, rotten, decayed wood. Created for my first year project at UWE Bristol, and my first fontstruction.
96411724
Published: 31st August, 2010
Last edited: 1st September, 2010
Created: 29th August, 2010
LDR HAET aka LDR#4. There are no holes except for crosses in this font. Use lowercase as a "manual kerning", you know, to keep the spacing between letters always the same, wow, I am an inventor.
A nice suprise was of no errors in the compiled font like displaced bricks or sth.
HAET is a mix between phrases "HATE" and "HEAT".
You are welcome to download, example pic tomorrow, I gotta watch my fav program in TV called "Daleko od noszy" which means that I'm really busy to open up Photoshop and write some black letters on yellow background.
It looks much better as a .ttf.
Yeah, I know it's so lo-res, but on my current computer I could not make more detailed font. Someday I will make a 100-200 square high remix.
1903410188
Published: 23rd August, 2010
Last edited: 26th February, 2017
Created: 21st June, 2010
Re-fontstructed with composite bricks, finally an uppercase that works with this strange mash-up of a design. Latin-A is a mess of alternates and swashy ideas (for now). I may update them with proper diacritics, a suite of swash caps, and the rest of the characters from the original. Numerals need revising to fit the cap height. Enjoy this beta!This is a clone
6931509
Published: 16th July, 2010
Last edited: 24th February, 2011
Created: 16th July, 2010
It's been a while since I've published anything, and I have a few font projects going, but here is one that I just came up with and made in a couple hours. It's a stencil font that uses a horizontal line to open all the bowls.
7798734
Published: 31st May, 2010
Last edited: 1st June, 2010
Created: 29th May, 2010
Another stencil font...with obvious influences from Glaser Stencil (because I love it so!). But to be fair, Glaser Stencil was not referenced even once in the making of this fontstruction.
Allow me to wax technical about FontStruct 2.0 for a bit. A lot of my fontstructions have been even thickness all around. However, the evenness have been approximated thus far—not so anymore. First there were the 45° bricks; then came the 26.57°/63.43° bricks. With the 2.0 Make Composite feature, 14.04°/75.96° angles became possible. These two additional angles provide a finer tune of thickness of stems. The preview does not do justice to the font, but I tested the thicknesses of stems in Illustrator—horizontals/verticals/diagonals. Each stem now is as close in thickness to other as possible. This really is an even stroke font[struction]. Other 2.0 features are also used (but may not be obvious at a glance). See that 'o'? That's just one quarter curve created and then rotated three additional times. Very handy. The horizontal and vertical flips were used extensively throughout the creation process. Quarter-ing of angled bricks became necessary when it became evident that the only even thickness of a stroke is possible at x.5 thickness when combined with a curve. This meant that each vertical/horizontal stem is 5.5 bricks thick, which in turn made it necessary to use angled bricks at a quarter scale, which, of course, was made possible with the Make Composite feature. The only place I couldn't get the brick I wanted was in 4 (zoom in to see the slight misshape). It was a joy to work on this fontstruction to get what I really wanted almost every time. Great update, Rob. Cheers!
As long as I am on the soap box: What's up with diaeresis? I understand the reason for their existence, but are they the best possible way to handle various additional sounds? Also, are they even necessary? For example, café in French means a particular thing. But does cafe (without the e with the grave on it) mean something else? If not, wouldn't the French automatically know how to properly pronounce café (with or without acute on the e) the correct way whichever 'e' is used? It helps in the pronunciation for the uninitiated but are languages really designed for the novice? There are 26 letters in the English alphabet but they cover the gamut of up to 44 different sounds (according to some). Improbable as it may seem, it does not stop people to choose the correct pronunciation of letters. Hop has one sound for the 'o' and adding an 'e' at the end does not add the 'e' sound at the end of 'hop' but changes the sound of the middle 'o'. Convention. Sure. What I am trying to get at is that written script functions much better with distinct shapes without the flow-interrupting addition of the diaeresis. So unless there are two words spelled the same with the only difference being the kind of diacritic on the letters, the diacritic are redundant, no? If there is a real need for certain letter+diacritic combo, wouldn't a new shape be better? There are no shortage of additional shapes in the scripts of other languages. Can't do without an 'é'? Replace it with, say, 'ө' from the Greek script...or whatever. It bears repetition: What's up with diaeresis?
63914625
Published: 25th May, 2010
Last edited: 26th May, 2010
Created: 25th May, 2010
A quick experiment playing with the possibilities of overshoot, using the composite brick function.
471817369
Published: 20th May, 2010
Last edited: 13th October, 2010
Created: 19th April, 2010
I decided to make a stencil version of my NCD Amphibian font.
I didn't have to change too much.
Slightly influenced by Afrojet's superb Whoopee which reminded me of NCD Amphibian when I first saw it.
There's still some tweaking to be done, so all comments welcomed.
This is a clone of NCD Amphibian
6858814
Published: 18th May, 2010
Last edited: 18th May, 2010
Created: 18th May, 2010
I'm not really sure how this one came about. It conforms to stencil criteria, but it's not really about that. It also reminds me of pseudo-blurry typefaces, but again that's purely coincidental.
Make of it what you will.
511214856
Published: 9th May, 2010
Last edited: 1st January, 2014
Created: 17th April, 2010
This is my attempt to create a robust, almost military grade slab serif stencil. The whole project was largely inspired by the music clip bearing the same title by Nathalie Cardone (http://www.youtube.com/watch?v=hqYHeX0i0NU&feature=related). It is a work in progress, glyphs may change in the final version.
3715078119
Published: 1st May, 2010
Last edited: 19th May, 2011
Created: 30th April, 2010
Yesterday afternoon I was sipping Coke on a sunny terrace and thinking about life, and the universe, when an idea came out of the blue about a new stencil font. The idea was so simple, I almost felt ashamed not having it much earlier. Back home I started to work on it, and created the first set of letters. It's a work in progress, fraught with imperfections, including the usual spacing-kerning problems. Remolino is a Spanish word for vortex.This is a clone
173265240
Published: 18th April, 2010
Last edited: 25th April, 2010
Created: 18th April, 2010
This is and experimental work to create a strong stencil face with a distinct character. It is a work in progress. Some glyphs may change. If you know prior art(s) very similar to this, please let me know. This is a clone
3539711
Published: 1st April, 2010
Last edited: 22nd May, 2011
Created: 31st March, 2010
Using a 1.8 filter, gives a nice curve.
I may add the upper case at some later stage, but they are not essential for me at the moment.
28157716
Published: 16th March, 2010
Last edited: 22nd March, 2010
Created: 13th March, 2010
well Sportcomp is over. what a great party. thanks to all those who participated or otherwise supported the fun. seems like i had at least one more, but perhaps this one is best to be released now, sort of like for the after-party. thanks to fs staff for the fun.This is a clone of Break
36173287
Published: 9th March, 2010
Last edited: 18th March, 2010
Created: 9th March, 2010
A chunky stencil font inspired by Communist Russia. Sorta going for the cosmonaut look. Extensive alphabet set with many Latin characters.
177167550
Published: 17th February, 2010
Last edited: 19th February, 2010
Created: 16th February, 2010
Prog is a condensed, geometric, modular display typeface with a contemporary sci-fi aesthetic. The design draws from a multitude of influences. Specifically I was inspired by: mathematics, Japanese space-rock, the movie MOON (directed by David Bowie's kid), and the Funk King's wonderful molecular work here on FontStruct.
The principle building block for the design is an obtuse angle segment that's cloned, reflected, and rotated to create an entire letter. Mapping the technique to the whole typeface was a challenge and there are some compromises (see D and U). As is frequently the case with these strict modular exercises the T is the stand out ugly duckling.This is a clone
391610418
Published: 2nd October, 2009
Last edited: 19th May, 2011
Created: 1st October, 2009
Heavy crude stencil face: OIL (Operation Iraqi Liberation)This is a clone of LE Meta
128305843
Published: 6th September, 2009
Last edited: 6th September, 2009
Created: 5th September, 2009
Minimal stencil font. lowercase, numerals and some punctuation. More on http://typerider.wordpress.com/This is a clone
6712598
Published: 6th September, 2009
Last edited: 24th April, 2024
Created: 6th September, 2009
The dirty version of safehouse. Minimal stencil font, lowercase, numerals and some punctuation.
More on http://typerider.wordpress.com/This is a clone
1251120124
Published: 2nd September, 2009
Last edited: 6th September, 2009
Created: 30th August, 2009
Clone of FS Mini which started as an alternative with UC & filter set at 2 to gain half brick positions. I changed the filter to 1.78 after not being satisfied with it & got amazed by the possibilities. Even when I came to some brick limitations I found myself redesigning some glyphs to abusethem of these new found possibilities & maintain a certain harmony within the whole set.This is a clone of FS Mini
582617416
Published: 7th August, 2009
Last edited: 25th November, 2018
Created: 4th August, 2009
Variation of NCD Reinforcia.
Limited usage on this one.
Designed 4th August 2009
by djnippa@hotmail.comThis is a clone
21482714
Published: 16th July, 2009
Last edited: 16th July, 2009
Created: 15th July, 2009
Please see the samples in the comments.
Using a new technique that combines 1.8 scaling and diagonals.
11896522
Published: 24th June, 2009
Last edited: 29th June, 2009
Created: 23rd June, 2009
Experimenting with reverse glyph building (knockouts) to create a modular monoline font with more fluid, rounded shapes.
A work in progress. I would appreciate any and all feedback, suggestions, etc.This is a clone
1931266021
Published: 15th June, 2009
Last edited: 25th June, 2009
Created: 14th June, 2009
I liked the word "steeldog" and started to work ...
This is a clone
120114225
Published: 30th May, 2009
Last edited: 30th June, 2009
Created: 27th May, 2009
A tribute to Josef Albers: inadvertently inspired by saberrider and afrojet.
This font totally happened by accident. Recently, saberrider created steep, which uses a 2.0 x 1.11 filter setting to smoothly blend the quarter-circle bricks into the triangles. After saberrider created his experimental variable scale fontstruction, it lead me to revisit an abandoned work I did from last year that was done in a similar scale. After getting over the initial disgust of looking at the dismal failure, I started tweaking. Then I decided to tweak the letters instead. It became apparent that I could create a stencil type font that also looked like Josef Alber's font. Coincidentally, Saberrider also has a variation with fontstract,
and of course, that Stewf guy has his own family of Leaflets. ;-) Afrojet's sessions came into play in creating some of the letter forms, especially the numerals. The final filter setting became 1.638 x 1.08, which created a nice fusion of the curved and triangular bricks, but was also naturally inclined to necessitate the vertical divide on each glyph. The rest flowed rather easily from there. Here's to more happy accidents. =)
The sample is also a tribute to Alber's color theory, showing the names in identical colors, which, when juxtaposed over contrasting colors tricks the eye into thinking the bottom name is darker than the top.
The following Josef Albers quote can relate to all things creative, like fontstructing, not just color:
"It should be clear by now that our way of studying color does not start with the past - neither with works of the past nor with its theories.
As we begin principally with the material, color itself, and its action and interaction as registered in our minds, we practice first and mainly a study of ourselves.
Thus, we replace looking backward by looking first at ourselves and our surroundings, and replace retrospection with introspection."
- Josef Albers
This is a clone