274894
Published: 13th October, 2009
Last edited: 13th October, 2009
Created: 12th October, 2009
My bold attempt of thalamic's Balance.This is a clone of fs Balance
36281019
Published: 5th February, 2009
Last edited: 20th August, 2012
Created: 3rd February, 2009
This font has no idea what it wants to be when it grows up. Stupid designer.
656666
Published: 15th September, 2008
Last edited: 21st January, 2013
Created: 15th September, 2008
I seem to be caught in a rut. All my work is resembling everything else I did in the past. I may have hit upon, what I consider, a good typographic balance between glyph design and fontstruct limitations or I simply may have run out of ideas. Only time will tell. :)
77289116
Published: 19th August, 2011
Last edited: 23rd August, 2011
Created: 19th August, 2011
Clone of fs Arc Test 1:1, which was started on Fri, 27th August, 11:59 AM 2010.
As simple as this fs may appear to be, it was much more complex to pull off. The curves and angles just did not match. The original version was at filter 1:1. Today--after a long time--I had enough free time to play around. Cloned and upped the filter to 2:2 (well, 1.75:1.75 to be exact). The 0.25 offset was initially put into place for the creative process, just so I know which brick was where. The breaks became a design element somewhere along the way. That caused additional brick placement problems. A full 2:2 filter would have made things much easier. Regardless, I am reasonably satisfied with the outcome. Needless to say, each glyph went through a whole bunch of iterations before settling on what's currently visible. Not all turned out good. The 'V', for instance. Who knows, better solutions may exist.
Take a square, split it horizontally, vertically and diagonally. This gives just 16 line segments to work with. I have a book where the author lists every possible combination of those 16 line segments. That gives a staggering 65535 total possibilities. And that's just straight lines. I mention this because the uppercase grid here is 6×8=48 bricks (counting one 2:2 brick as 4 1:1 bricks). Then there is the possibility of using a whole slew of 4×4 brick shape. I am not even going to attempt to figure out how many total possible combinations that makes but I am sure it is a number much larger than 65535.
The point is, with so many possible brick combinations, better solutions most probably exist. I just may be too narrow-minded to visualize them.This is a clone
347513
Published: 4th November, 2009
Last edited: 4th November, 2009
Created: 1st November, 2009
Yet another version that came while modifying AUGHT One to AUGHT To. And believe it or not, in the process of doing these three fonts, enough additional glyphs were created and deleted to fill at least two more variants. This is why the Clone is enabled again so someone else might experiment some more, if they so choose.This is a clone
112114617
Published: 19th November, 2009
Last edited: 20th November, 2009
Created: 6th June, 2009
Bitten by afrojet's coloring technique. In fact this fontstruction owes its completion merely to try out his technique. Thanks, aj.
6998316
Published: 29th August, 2009
Last edited: 29th August, 2009
Created: 27th January, 2009
For use at pixel level. Also works at 32pt×x, where x=1,2,4,8,etc. ----- This font has been a long time in the making. The dots are such that the curved shapes and squared-off letters just would not resolve to an equal height no matter what I tried. Then after the mixed x-height that came about in yesterday's la Cross, it occurred to me to just let the letters be as tall as they wanted to be. It seems to work for some odd reason. Can someone please explain why it works?This is a clone
1009886
Published: 12th January, 2009
Last edited: 22nd June, 2009
Created: 11th January, 2009
for djnippa.
the short numerals seem all out of order but there is a logic to it. - for 1, _ (shift -) for 2, = for 3, + (shift =) for 4, [ for 5, { for 6, ] for 7, } for 8, \ for 9, | for 0.
Mayan-type alt. numerals at: * for 0, ( for 1, ) for 2, ; for 3, : for 4, ' for 5, " for 6, < for 7, > for 8, / for 9.This is a clone
121176233
Published: 24th August, 2009
Last edited: 24th August, 2009
Created: 23rd August, 2009
This one started out quite different; a simple three-line font. While making an alternate B, the curlicue was introduced. A clone and many hours later, Etched was born. Later added borders and decorations when the sample called for it. ----- Works best at 64pt. Set leading to 48pt for a single dividing line in between, 52pt for a double dividing line, and 56pt for a clear break between lines. No kerning required.
Start a new line with < and end it with >.
Top borders: [ \ ] Bottom borders: { | } Top border decoration: ~ Bottom border decoration: / Left border: ( Right border: ) Text decoration: _ Text decoration end (ambidextrous): `This is a clone of fs Etched [Nyle]
71106016
Published: 25th August, 2009
Last edited: 10th December, 2022
Created: 24th August, 2009
This one started out quite different; a simple three-line font. While making an alternate B, the curlicue was introduced. A clone and many hours later, Etched was born. Later added borders and decorations when the sample called for it. Then cloned the clone and stripped it bare...because DJNippa was going to ask for it, wasn't he!. :-) ----- Works best at 64pt. Set leading to between 48pt and 56pt. No kerning required.
Top borders: [ \ ] Bottom borders: { | } Top border decoration: ~ Bottom border decoration: / Left border: ( Right border: ) Text decoration: _ Text decoration end (ambidextrous): `This is a clone of fs Etched
51078423
Published: 18th February, 2009
Last edited: 16th July, 2009
Created: 8th February, 2009
It started when kolarek posted the RÖFIX logo as his inspiration for his Blokinjo FontStruction. I wondered if that logo could be recreated exactly in FS. Turns out, it could. Having done that exercise, it was time to move on to play with other character designs. In a short while the whole set was done that matched the logo characters. Then the playing really began. Over the last 11 days, enough variations for each character were generated to fill three fonts. This is just one of those three.
$=Alt. s %=Alt. alt. s <=Alt. V >=Alt. W [=Alt. U ]=Alt. alt. W \=K |=Alt. S
9710988
Published: 15th August, 2009
Last edited: 23rd November, 2009
Created: 15th August, 2009
This started out as a 'why not'. When it showed potential, I added more glyphs to round out the character set.
— Alt. t at { for words beginning with it.
— ll (double l) lig. at } for a nicer fit.This is a clone of fs Fontsration
886276843
Published: 21st December, 2008
Last edited: 8th June, 2009
Created: 21st December, 2008
The new spacing controls have added complications in this font. Set tracking to -64 to get the characters to join up.
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)
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
112145527
Published: 3rd September, 2011
Last edited: 14th September, 2011
Created: 10th February, 2010
This fontstruction was started a long time ago. Yesterday, being bored (or something), I randomly clicked on page 7 of My FontStructions and found this. Being bored (or something), I clicked Edit.
Back in February 2010, I was able to take this fs only so far and came to a halt owing to geometry and FontStructor limitations. Those limitations, for the most part, seemed to have disappeared in the intervening time. I must've felt encouraged as I've been working on this fs all day today. As it turns out, when you work on something long enough, something will emerge. Et voilà. (I jest. ;)
Oh the soap box syndrome!
Visual aesthetics require two elements, namely, art and design. Let's examine each, shall we, the better to understand whence this came from and to what purpose.
Art has as many meanings as there are people giving them. For me, art is that visual that appeals to one, the stress being on 'one', and serves no practical purpose. Design, on the other hand, by definition*, must serve some purpose, must be reasonably attractive to those for who it is intended, and must stay within the limitation (whether explicit or implicit) of all that is (or will be) involved.
This and every other fontstruction, being visual in nature, has an element of art in it. Keeping the above art definition in mind, and as far as this fs is concerned, the art was my personal aspiration to try to do a diagonal stem of the A and the M and have the rest of the letters in such formation so that they fit like a glove with the A and M (without any effort on the user's part — but that jumps ahead to design). The February 2010 version of the FontStructor allowed me to achieve that very well. The art part was a start (yes, sorry, I couldn't resist the rhyme).
In my experience, any visual thing, no matter how simple or complex; no matter how involved or not; how unique or generic; how &c. and &c. may be termed art as if any one person appreciates it, it is art, albeit to that person only. So, I am satisfied how this fs looks, so the art is done. Also as per my personal experience, design is a much harder, difficult, involved element of getting something done right that also requires appropriate technical know-how to see it to fruition. The February 2010 version of the FontStructor did not allow the 'fit like a glove without user intervention' part. This morning when I started working on this fs, the September 2011 version of the FontStructor allowed me to do almost all that I wanted it to. (I say 'almost' because there were one or two custom bricks I required that I was unable to achieve, quite possibly due to my own inability).
The design confine [—if art gets a rhyme, so shall design—], with every letter overlapping just so, required quite a lot of geometric manipulation (not particularly apparent) to make sure any two letters fitted in properly. It got tedious quick fast in-a-hurry typing out manual kerning pairs (AM, ST, &c.). I had to type out all kerning pairs (AB, AC…RI, RJ, RK…SM, SN, SO…VS, VT, VY…ZZ…&c.) in Word (utilizing handy Replace functionality to speed kerning pair creation) and test every possible pair (even ones that are likely never to be used in reality—QK, for instance).
This being a design exercise, there had to be a purpose. My thinking was, staying within the limitations created by the art part, the font should work as an instant logo delivery system. Type a word in fs Instant—and, hey presto!, Logo (a gogo). It’s up to you to decide if I succeeded.
731811014
Published: 11th December, 2009
Last edited: 1st November, 2010
Created: 26th November, 2009
A pretty simple fontstruction on its own. It only comes to life when layered with other fontstructions from the Institutional family (Elements is available now with further additions coming soon); see samples. This fontstructions attempts to further two quests: to have a font almost completely solid (without sacrificing legibility, i.e.) and to find new ways pixel-level coloring without coloring each pixel.
Disclaimer: No attempt is made to copy/reproduce any existing type design or coloring technique. Any resemblance to existing fonts or fontstructions or coloring technique is purely coincidental and displays the designers inability to unlearn intentional or accidental knowledge gained in the past, either visual or technical.
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
124104828
Published: 28th September, 2009
Last edited: 22nd November, 2012
Created: 28th September, 2009
It's elemental.This is a clone of fs Bas Relief