A MONOSPACE DEVIATION FROM ALDRON

I HAD TO DUMP THE LETTERFORMS INTO A NEW FILE (THAT WASN’T CLONED FROM ALDRON), BECAUSE THERE WAS NO WAY TO COMPLETELY REMOVE THE KERNING FOR THIS MONOSPACE FONT.

Śmieć (transcribed as Sjmiecj when using only the characters available in the font) is a font designed to be easily readable, both up close and from far away. The name of the font means "a small piece of trash" in Polish because I will be using it on my new trashcan stickers. This font is meant to be 3D printed as individual letters, so you can reüse punctuation as diacritics when assembling words from these letters.

When to Use Upper/Lower Cases

The font is meant to have an effect when the vowels are just taller lowercases. Start words from a capital letter, so that the sentence "This is a garbage truck" becomes "This Is A Garbage Truck". This is important when a word begins in a vowel. When a vowel letter (or a Y) acts as a consonant, use uppercase, so that the sentence "The royal queenie girl is practicing ventriloquism" becomes "The RoYal QUeenie Girl Is Practicing VentriloqUism". Silent vowel letters that separate two letters from influencing each other's pronunciations are upper cased, like the Spanish name "Miguel" becomes MigUel because the U separates the G from the E so that it's not "Mikhel". On the other hand, silent vowel letters of a different purpose stay lowercase, so that the English word "cane" is simply "Cane". Digraphs containing both vowels and consonants, like the "ti" digraph in "nation" and the "ar" digraph in "cart", use uppercase vowel letters when the digraph makes a consonant sound, but use lowercase vowel letters when the digraph makes a vowel sound: "NatIon", but "Cart".

TUBULAR LUMINII - Rounded inline display sans
  

◇◆◇ ❒  ＣＯＮＣＥＰＴ  ￭ ￭
⇛▸⇛     Font that mimics electrical gas-discharge tubes (Neon)

◇◆◇  ❒  ＢＡＣＫ  ＳＴＯＲＹ  ￭ ￭
A larger potion of the Neon-fonts that are found on the web often have these quite strong emphasis on their decorative design aspects, and a lot of them come in elaborate looking complex styles and form. Besides the numerous optional different personalized conceptual decorative elements implemented into the design, many typefaces also regularly use more commonplace modifications such as; ▸multi-linear, incisions, patterned etc.

◇◆◇  ❒  ＴＨＩＳ  ＦＯＮＴ  ￭ ￭
Instead I went with a clean, simple basic geometric letterform, one that is essentially mono-linear at it's core. The one major key element that I have incorporated to the concept is that unmistakable in-line stroke. This was done to give it more of a convincing 'tubular'-concept as is the case with a real neon gas tube.
The other less pronounced but nonetheless fundamentally important design feature are the closed stroke-endings.  Apart from being this extra little personalized element, it also suits a technical purpose. That of which is;   "To fully preserve all 'in-lined'-negative (white) space in full isolation".    This enables somewhat easier 'end-use' access to layer atributes or compound paths in graphic design software.

◇◆◇ ❒  ＦＳ  ＴＥＣＨＮＩＣＡＬ  ￭ ￭
It's constructed mainly of connector bricks and a set of custom composite bricks, expanding FS's default connection brick set. Enabling greater viariational depth and complexity for custom shaping.

◇◆◇ ❒  ＦＳ ＭＥＴＲＩＣＳ  ￭ ￭

  ❖ ❖ Metrics  ⇒ 〔measure in ⇒square grid units〕
〘▸〙〔Glyph Metrics〕
   ￮      Brick Size Filter:         ～  ２ ： ２
   ￮      Cap-Height:               ～  ４．５ ✕ ４．５  
   ￮      Ascent / Descent:      ～  ０．５ ✕ ０．５

〘▸〙〔Font Metrics〕                ❖   ❖
   ￮      Font Size:                  ～  ７．５  
          ∗ Full Em square (incl. ⇒ symb. & punct.)

More soon..

Cheers

Unleash the power of the... SLAPPERDAPPER! For the whole family!

a typeface inspired by the music of this artist, billboard lettering and brutalism

A FUTURISTIC LETTER “A”!!

MY FUNNY LETTER “K”!!

AN OVER-EXTENDED EM DASH!!

WEIRD UPSIDE-DOWN CYRILLIC LETTERS THAT NOBODY’S HEARD OF!!

IT’S ALL HERE IN MY NEW FONT — ALDRON.

I THOUGHT THAT THIS FONT NEEDED MORE ATTENTION THAN THE ONE THAT I CLONED IT FROM, WHICH WAS MADE IN A COUPLE OF HOURS. AS WELL AS ADDING THE LATIN AND GREEK ALPHABETS, I MADE A FEW ADDITIONS AND ADJUSTMENTS TO THE CYRILLIC LETTERS AS WELL AS SPACING. AND UNLIKE ITS PREDECESSOR, THIS ONE IS KERNED.

IT WAS QUITE A DIFFERENT EXPERIENCE, ACTUALLY, ADAPTING A CYRILLIC FONT FOR LATIN INSTEAD OF VICE VERSA.

INTENDED LANGUAGE SUPPORT

• БЕЛАРУСКАЯ МОВА — BELARUSIAN
• БЪЛГАРСКИ — BULGARIAN
• HRVATSKI — CROATIAN
• ČEŠTINA — CZECH
• ENGLISH
• ESPERANTO
• DEUTSCH — GERMAN
• ΕΛΛΗΝΙΚΆ — GREEK
• ITALIANO — ITALIAN
• ҚАЗАҚША — CYRILLIC KAZAKH
• МАКЕДОНСКИ — MACEDONIAN
• TE REO MĀORI
• ROMÂNĂ — ROMANIAN
• РУССКИЙ — RUSSIAN
• SRPSKI, СРПСКИ — LATIN AND CYRILLIC SERBIAN
• SLOVENČINA — SLOVAK
• SLOVENŠČINA — SLOVENIAN
• УКРАЇНСЬКА — UKRAINIAN

AVAILABLE CHARACTERS (★✰*ALL KERNED YAY!!!!!✰*✪)

LATIN: ABCDEFGHIJKLMNOPQRSTUVWXYZ ĀÁÂÄĂĆČĈĎĐDŽĒÉÈǴĜĤĪÍÎĴĹĽLJŃŇNJŌÓÒÔÖŔŘŚŠŜȘẞŤȚŪÚÜŬŮÝŹŽ
GREEK: ΑΒΓΔΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩ ΆΈΉΊΪΌΎΫΏ
CYRILLIC: АБВГДЕЁЖЗИЙКЛМНОПРСТУФХЦЧШЩЪЫЬЭЮЯ ӘЀЃҐҒЂЄЅЍІЇЈЌҚЉҢЊӨЋЎҮҰҺЏ
THE NUMBERBET: 0123456789
PUNCTUATION: ()[]!?.…:;,„“”‘’-—«»*• AND OF COURSE, SPACE

MADE THIS WHILE WATCHING DR. DOLITTLE II ON T.V.. I WAS INSPIRED BY THE ELUSIVE FONT THAT I SEE EVERYWHERE IN VIDEOS OF RUSSIA AND BELARUS.

Circus (Decorative font)

Concept inspired by the Budmo Family by Ray Larabie (http://www.myfonts.com/fonts/larabie/budmo/), old wine bottles, nineteenth century sideshows/circuses, and Las Vegas.