511311732
Published: 3rd October, 2010
Last edited: 3rd October, 2010
Created: 2nd August, 2010
Fresh baked. [Not inspired by Nike®]
Each character is max. 32 grid blocks tall. However, the total height of the fontstruction exceeds that. Couldn't be helped; the curves just make it so. Maybe that disqualifies it from the competition, which is OK, but the design had to take precedence over the rules.
This fs has been in the works for a while and was not specifically begun for the handmadecomp. It started off quite crude...and evolved into the baroque-ness over time. With all the shape possibilities, it may never be 'done' done.
12595219
Published: 11th September, 2010
Last edited: 11th September, 2010
Created: 10th September, 2010
An exercise in using the newer bricks to create a single typeface with two weights.
104136733
Published: 18th August, 2010
Last edited: 18th August, 2010
Created: 17th August, 2010
Well, there was this way to go.This is a clone of fs SquaredUp (and nowhere to go)
210584
Published: 21st July, 2010
Last edited: 8th September, 2010
Created: 28th April, 2010
Enjoy the font!
(p.s: No matter what I cannot make an 'X' or 'D' look good. Any help with this would much be appreciated!)
(p.p.s: sorry, I only did it in UPPER CASE - update lower case is now being worked on.)
47109712
Published: 13th July, 2010
Last edited: 17th July, 2010
Created: 12th July, 2010
Ignore the preview window. View the sample.
[If you are going to use the preview widget, slide the PXL setting to around 60% point.]
A long while ago, I came across some logo or font or something that said something like 'raptor' or 'captor' or something. This font owes its existence to that...er...logo. But it has been futzed with umpteen number of times so it only has a distant cousin look to the original. I searched and searched my files but couldn't find the original. Checked google, bing, behance and logopond too; no luck.This is a clone
901592
Published: 25th June, 2010
Last edited: 25th June, 2010
Created: 19th June, 2010
A blocky font, best used in ONLY UPPERCASE or ONLY lowercase. I still think it looks funky weird when I do uppercase and lowercase at the same time.
Also best used large-sized, not Pixel base.
If you have any recommendation on how to make some characters that are missing, or some other characters that you think look a bit wonky, a comment is appreciated ~
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?
77124627
Published: 23rd May, 2010
Last edited: 23rd May, 2010
Created: 23rd January, 2010
An unoriginal idea that's been sitting around for a while. Don't go by the January 2010 creation date, no; this is a clone of a clone of a different idea (which may see the light of day yet...or not, whichever comes first ;).This is a clone
3331907
Published: 18th May, 2010
Last edited: 18th May, 2010
Created: 18th May, 2010
If Punchline doesn't look heavy enough to you, try his brother: This guy has filled counters for real heavy duty tasks.This is a clone of Punchline
4972819096
Published: 13th May, 2010
Last edited: 13th May, 2010
Created: 12th April, 2010
Ultra heavy slab serif uppercase only face, subtly celebrating the 4x1 diagonals of fontstruct 2.0...
I hope some people will find more stylish uses for this than on college shirts/jumpers. It actually wasn't intended to have that standard college slab serif look, and I desperately believe that there's still a nuance of difference, but that might be an illusion.
I btw just copied the uppercase letters on lowercase slots to make it more convenient. So don't be too impressed by the character count.;)
642011
Published: 7th May, 2010
Last edited: 13th July, 2010
Created: 25th April, 2010
A pixel font I'm working on for my website. Not Done yet. I'm trying to make a many of the glyphs as I can. Please vote!
Last Edit:
- Made "s" readable
- Added all "Extended Latin"
64159221
Published: 16th March, 2010
Last edited: 7th June, 2010
Created: 29th August, 2009
The name is derived from this fontstruction trying to emulate the intaglio style.This is a clone
15398649
Published: 1st February, 2010
Last edited: 22nd December, 2010
Created: 31st January, 2010
Inspired by a picture found on this website.
Another diagonal line font so soon after fs Overlap. A mere coincidence. The application of each is very different. Overlap is about negative space while I-Tilic is about patterns and meta shapes. Post samples if you end-up playing with this fontstruction. Have fun.
[ = fi ligature ] = ti ligature < = background fill (negative) > = background fill (positive) ` = reverse tile (above base line) ~ = reverse tile (full height) { = top border } = bottom border | = side border