A script designed for the conlang of 'Ȑiþȑa̷în'.
The language of Ȑiþȑa̷înwas created at Farnad by a joint effort of Harlastes and Rakiana specifically for the use of the new ‘nation’ taking form from surviving Hyntellar, Aignar and Oumda peoples, who were later collectively known as the Ȑa̷inðâl (Ȑiþȑa̷în: ‘the agency of the world’). As a language, it was designed principally for morphemic elegance and semantic density while using the aesthetic phonemic preferences of its creators and intended speakers, perhaps inspired by the logico-mathematical concept of ‘elegance’ taught at Cynkyallat (Khalaris), Tain and Icoras. As a result, the range of consonants and vowels is relatively small, while also being highly inflected; making extensive use of suprafixes – where the first vowel-sound of a word is modified to change its grammatical function – and limited use of more standard suffix-inflection. In particular, the semantic density of Ȑiþȑa̷în made it ideal for transcription onto valuable or rare writing media as well as possessing a high level of concision in spoken form. Its most celebrated features were used in philosophy, where widespread suprafixing meant that singular concepts tended to retain their essential form regardless of grammatical function and in debate where complex ideas could be put over remarkably quickly. However, its suprafixional grammar also required excellent diction and enunciation from its speakers, precipitating a rather unique oral culture.
‘Ȑiþȑa̷în’is a compound word from the phrase ȑīþ ȑa̷în, which literally means ‘the speech of agency’ or ‘agency’s speech’ – relating to the important concept of ‘civilisation’ or ‘the agency of a people’ in the culture of Farnad. Ithas five cases, five persons, five tense-aspects, and two numbers in its inflectional system, while gender and, when necessary, mood, are conveyed lexically and through word order.This is a clone
This is a font inspired by the word 'systematic'. My main influence when creating this font was archiecture and the form of buildings. I focused strongly on lines and the grid system as I felt this really fit the theme of 'systematic' and archiecture as both remind me of acting according to a fixed plan or system; methodical.This is a clone
Inspired by a video showing a hairdresser creating a wig for a play........
Many LC glyphs are an alternate to corresponding UC.
I haven't mastered creating good joints between FS bricks and the compos I need to make ""to join"" the two types of brick. Trying to get them to flow into each other produces more or less untidy joining in many places which I find frustrating. Maybe I have to sketch out simpler designs for easy Fontstructing.
Looking at the caron I wonder if the center cross-over brick needs replacing with the one that dips downwards? See the two different bricks in the caron of E and e.This is a clone
Aaaaaahhhh... Won't You Please?
This is YET ANOTHER font based off of a song from LUMINES.
Why do I make these so much?
Inspired by raster scanning & horizontal synchronization for image & video display.
A piece of constructivism inspired by Dutch artistic movement "De Stijl".This is a clone of STF_FABRICON_(OUTLINE)
Another one from the great Dutch graphical designer revisited.
Inspired by the starting point 'elegant' , this font was developed looking at the structure of constellations, and how a number of different points can be interpreted into images. The fine, interconnected lines of the typeface reflect the delicate and subtle connotations of the word 'elegant', and it is designed to be used as a display face. the name 'Cassiopeia' is taken from an existing constellation, initially listed in the 2nd century.
Topolegs was originally inspired by the theme Filthy. The idea of compact lines came from looking at the shapes chewed into chewing gum pieces which are wrongly discarded on the floor. Using topographic maps I created the lines for each letter respectively hence the naming of the font. This is a follow up of the font I previously created called Topo.This is a clone of Topo
Topo was originally inspired by the theme Filthy. The idea of compact lines came from looking at the shapes chewed into chewing gum pieces which are wrongly discarded on the floor. Using topographic maps I created the lines for each letter respectively hence the naming of the font.
Atticus is a sophisticated, linear typeface that is versatile in its use. The lack of curves gives it a sleek, angular feel, yet its 3-dimensional look makes it bold and fun. Atticus is a headliner type and is guaranteed to grab your reader's attention.
This geometric font was built up from the theme of a continuous typeface. After developing sketched ideas and experimenting on fontsrtuct I became aware or a continuous theme throughout my font design of continuous lines and geometric shapes. This led me to research type designers and artists such as El Lissitsky's use of shapes to portray political messages, Herbert Bayer's rounded font style, Paul Renner's original architype fonts's unusual abstract designs and finally Matt W Moore's modern geometric typefaces which heavily influenced my designs. This can be seen through the abstract use of shapes inspired by El Lissitsky which can be seen in the letter M, H and V. Aspects of Matt W Moore can also be seen in my designs from his Alphafont 2 and 3 on the use of lines for the letters M, H and Z, and his use of shapes which are seen in the letters A and V. With inspiration coming from a range of times, artists and typographers this gives the font a feel of old and new. As it looks like it could be inscriptions on tombs and pyramids but also has a futuristic sci-fi appearance. Therefore the use of this font could be used for film posters and books of a setting in the future or ancient Egyptian or Greek past.This is a clone of Continuous1