This is one of those fonts where you put yourself to work to unload the mind of other more complicated and that give headaches. It was born for a notice that encouraged to participate in the last FutureComp and now it is finished. And I like it. I must admit that it has returned me to pleasant sensations of time ago, when all was simpler.

A script for the Larimin language by Olga Laedel

(neither the language nor the script belong to me)

h is /ʍ/, q j are /ʃ ʒ/, 8 9 are /θ ð/ since the language is base 8

' is umlaut, ` is nasalisation, ~ is both

. is end of sentence, "," is octal comma, : is end of paragraph, - is hyphenation sign

TwentiesComp entry. Not really sure how twenties this is (maybe more 30s), but this is where inspiration led.

See more: https://fontstruct.com/fontstructions/show/1418134/lasers-1

I made a font inspired by art-deco, which I really love. To more universal capital letters, more decorative lowercase have been made, which can be varied by additional alternative characters (o e i).

See more:

https://fontstruct.com/fontstructions/show/1399486/new-azbuka-easy-to-read

https://fontstruct.com/fontstructions/show/1592397/amyn-1

https://fontstruct.com/fontstructions/show/1563198/yakut-brilliant

https://fontstruct.com/fontstructions/show/522360/alphane

Black space tipping "\".

Another "2-in-1" fontstruct. To obtain a chained word, please write their letters using only the uppercase (= with connectors) and use the lowercase (= without connectors) to finish the last letter of your word. E.g.: HELLo. The lowercase works like a traditional font too.

a rounded unicase font... inspired by a logo...

i will add more letters soon

WIP

Friends, I'm asking for help! Which "R" do you prefer? The one with the straight, or curved leg? I'm split, because personally I much prefer the straight leg, but curved seems more consistent with the rest.

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The term "sidereal" (/saɪˈdɪəriəl/) refers to a measurement of time based on the position of stars. 

Industrial, geometric, display, extended, modern, uniform weight. Based on a 2-brick tall grid. Inspired by Microgramma/Eurostile and the Terminator logotype. 

"Prototype" means that this is not the final verison. In this case, FontStruct has been used as a fantastic preliminary design tool. But due to its limitations, the font will have to be reworked. Not by much - only the ⅝ roundings will be made circular in a traditional font editor, I'll be introducing optical improvements, and real kerning will also be implemented. 

FontStruct's kerning tool is extremely rudimentary (understandable), and honestly, because of that, I left the kerning in a really messy state, it's kind of beyond repair at this point, as I don't really know what's what anymore. Oh, and also - due to limitations of the nudge tool, the ampersant (&) is offset to the right by half a brick, I tried to fix it with kerning as well, and it kinda works, but that will be fixed in the final version, outside FontStruct.

Pixxy 60-minutes-design – an hour of fun with Fontstruct as preparation for my lessons!

A tech-like font inspired (one more time) by some glyphs from Insider Bold, a work by the prolific Dmitriy Sychiov.

See more:

https://fontstruct.com/fontstructions/show/1604109/dojin

https://fontstruct.com/fontstructions/show/1511659/stf-a-s-c-communications

See more:

https://fontstruct.com/fontstructions/show/332122/sentinel_3

https://fontstruct.com/fontstructions/show/1747945/stepforward-1

https://fontstruct.com/fontstructions/show/795996/chibby

https://fontstruct.com/fontstructions/show/1687576/caramba-1

https://fontstruct.com/fontstructions/show/1404093/blopp-1

https://www.fontstruct.com/fontstructions/show/666067/quinquepuncta

https://fontstruct.com/fontstructions/show/92583/frieda

https://fontstruct.com/fontstructions/show/239418/volume_metric_lo

Work in progress …

Planning only to track down some bugs in the FontStructor, I was suddenly struck by similarities between the random shapes I was placing on the canvas and images I had stumbled upon recently on the web – I think it was in this article in the Guardian.

The images were of Peter Womersley’s modernist design for “High Sunderland”, fashion designer Bernat Klein’s erstwhile home, near Selkirk in Scotland. I wasn’t at first drawn to the modernism, but to the promised description of the experience of living in a house which was visually so open to the outside world – although ultimately the article wasn’t especially enlightening on that point. Later I found more extensive sources of images of the building on the web.

Working on this was the first time in quite a few years that I have been possessed by my own, earnest FontStructing rush. I was very pleased to find that the FontStructor tool still works as well and simply as it ever did – allowing for a uniquely swift and unimpeded creative progress through a set of modular glyphs.

The basic grid for each letter, based on the characteristic modules of the building, is topped by a slightly heavier bar and so slightly asymmetrical in the vertical, like the structure of High Sunderland itself, but it is essentially square and consists of six parallel horizontal bars.

In the FontStruction, the emphasis is on these crossbars – with every effort made to avoid partial horizontals and additional vertical lines, especially for the basic latin alphabet. The font is essentially unicase, with some variants in the lower case.

At one point I noticed that there are some window panels in High Sutherland which do have a single, thinner vertical divider (for sliding open presumably) so I used this for the middle legs of the M and W. After completing the initial FontStruction I also noticed in photographs of the building that there is at least one window with multiple vertical subdividers, so maybe that can form the basis for a new grid and a new FontStruction (High Sutherland B).

Things started to get fun for me when I got into the punctuation and accented letters. I saw no alternative to adding additional verticals for the hash, the percentage sign and some other glyphs.

I really like the percentage sign, although I’m not sure how legible it is – but I guess ultimately that it is an issue with the whole font.

When it came to glyphs with unavoidable diagonals – such as the slash glyphs – I went for a stepped approach, which I think is basically a good one, maintaining the emphasis on horizontal lines, and suggestive of musical notation – but the steps are a bit sloppy. I probably need to revisit them.

I’m not sure about applications for this FontStruction. Maybe it would be useful to someone intending to erect their own mid-modernist dwelling in the hills, or to someone planning to put up some new shelves!

A retro-futuristic font loosely inspired by the "Yellow Submarine" album cover by The Beatles.

See more:

https://fontstruct.com/fontstructions/show/383322/zaratustra_ooooo

https://www.fontstruct.com/fontstructions/show/1562369/candylander-plain

https://www.fontstruct.com/fontstructions/show/851715/dolphin_sans_3

https://www.fontstruct.com/fontstructions/show/1331355/circuit-thin-1

WIP

See more:

https://www.fontstruct.com/fontstructions/show/1549017/warner-brazils

https://www.fontstruct.com/fontstructions/show/1326545/elion-italic

https://www.fontstruct.com/fontstructions/show/987287/fs_gfo_3

https://www.fontstruct.com/fontstructors/1104892/sychoff/favorites?tagId=9&tag=Pixel&tagType=fave

https://www.fontstruct.com/fontstructions/show/32758/leiria_bold

https://www.fontstruct.com/fontstructions/show/209183/raphigraphy

a simple font

btw: some numbers look like letters on purpose

Do it: https://www.fontstruct.com/fontstructions/show/629119/ocd_disco_round

https://www.fontstruct.com/fontstructions/show/1682290/robospace-orbital

https://www.fontstruct.com/fontstructions/show/372247/ecdb_1

see more: https://www.fontstruct.com/fontstructions/show/239643/archityped

https://www.fontstruct.com/fontstructions/show/476462/autologo

https://www.fontstruct.com/fontstructions/show/1700886/hghghghgh-2-2

Mildly quirky serif font made for the signage/logos of a certain event. Limited character set.