This had the look of the original reverse-comp entry. Then the save ignored me, as you can see. Another of my basic fonts died in silence. Again.

I've  returned too late to make a special font for the Reversecomp. I already had changed some aspects of the "Lord Calendulos" version of Calendula set in the clone taken and finished this Lady version today. As my competition entry I flipped the Lady Calendula glyphs horizontally. This means my reversecomp entry font "Calendula Lady" can be used like a plane shadow when placed under Lady Calendula. 

A Lady style font. For the calendula flower. 

Taking the idea of "reverse" to a heady level of crazy ;) It's based on 'Solstice Wege'.

I know it's the clone of the WEGE version but it still took some time to flipand/reverse parts of each glyph to obtain an interesting visual without having something hopelessly  messy ... I enjoyed flipping and  reversing to deconstruct the original to get a disrupted look while maintaining aesthetics.3rd entry for the reversecomp

Reverse in the  visual context can mean many things. I decided to create letters and mirrored them, attaching them to a spine.The letters looked like filigree jewellery  pendants.

I know that the I , T and W don't follow the design rule; I tried to align them on a spine but the result was unsatisfactory.

Here you can see my headache relating to composites for the new bricks. The 4-way link shows that our present 16 brick limit for composites is insufficient if we want precision joins. I discovered this also with the 1 and 3 linebricks. I wonder how Meek managed to create the bricks ;)

This is the 'positive' version to  the 'negative design' n8 Solstice versions and shows that the boxy look seen there is softened through curves and airy lines. There is a lot of charme and elegance in the glyphs. The Q, Z and 2 gave me so many problems in the parent font, here we see why; I think I succeeded using the decorated boxes I introduced in the  parent font, to create interesting slanted lines in some glyphs that can have tricky slants. This isn't for the reversecomp even  though I made it after the Solstice versions white-on-black.

I had thought of making this my 2nd competition entry but while it's attractive it lacks something.

It shows all horizontal and vertical lines that weren't placed in its parent font "n8 Solstice noir". But the font itself still uses white cut-outs in a a black rectangle.

Somehow this presentation reminds me of a lino print, stencil, photographic negative.

The original font didn't disturb me, this design however kept nagging me, wanting to get out as a positive.  I couldn't resist this demand and turned its clone into the usual black-on-white presentation 'Solstice Day'

My 2nd entry for the competition.

This started  as a doodle of a strangely shaped  Z and a number 2 with slanted links created by unusual shapes. I also tried to design certain letters with lines that broke with tradition, but which could somehow still be added by the mind. A little in the style of  the "join the dots" games my grandsons like.

I enjoyed the challenge, setting corners and seeing the horizontal and vertical lines in my mind. It made me look carefully at the internal structure which often wasn't easy to see due to these many gaps. That's when I started adding circles, they gave sense to the inexistant striped lines and helped me see several mistakes concerning line heights and how the conneting bricks would join up, which took another hour or three to get right.

In the end I cloned this design and filled the missing horizontal and vertical lines to  make sure all heights were correct -- and told myself that I could have started building this font with all lines first, then change the straight  lines into black bricks. But I believe that starting with the join-the-dots idea to build this version made me look more intensely at possible shapes and ways to join them, creating slanted lines inherent to some glyphs in a more artistic way which I found satisfying once I had finished  the font.

I decided that turning a "usual black-on-white" font would be a good way to reverse a font; hence some glyphs are easier to understand than others. I think that artistic minds will enjoy the graphic feel of the quirkiness :)

For some a certain type of (future) text I'll use some of the more abstract looking glyphs as decorative inserts and frames.

The font's name is taken from The Emerald Tablet.

Inspired by a lace edged table cloth

A typeface inspired by American typefaces from the 1800s and the Art Deco-styled coffee shop I visit often in Des Moines, Iowa.

Combining a slab-serif, expanded typeface with ornate detailing brought challenging consideration to the legibility of the font. It’s used best for short, bold messages or an energetic initial cap.

This is based on "Quadretta", or maybe it's the reverse?

Quadretta was inspired by the Fontstruct user symbols but I wanted something more elaborate For my user design I used a similar look but added more bricks which made my present S which was extended into this font. If I make the Lord version of this I have to use abstraction, usually I have the Lords designed first and the Ladies receive special adornments.

It's a work in progress, the numbers and little punctuation will come soon.

Based on the theme of 'Energetic', this typeface is inspired by the footprints which teach people how to dance. The unrepeated pattern of footprint suggests spontaneity, and it also makes the typeface looks unusal and stands out. The font is designed to be decorative and to be use selectively. I think it will be suitable to party poster or promotion.

This type face is based off of the word decorate and the adjective decorative. Within the development of this design I took inspiration from embellishment and a craft style of working which is how the cross stitch came to light. This type is lowercase, it is meant for smaller bodies text. It will work best in a 12 or 14pt body as if the type is too small it will be difficult to see the detail. Though CrossStitchNS is probably not suitable for headers it would be perfect for texts such as invitations. I hope you enjoy this font as much as I enjoyed making it. x
 

A whimsical pixel sans-serif font, inspired by the works of Susan Kare, especially Chicago. It supports up to Latin Supplements plus Katakana.

Another font in the "First of the Month" series.

Based on a shape experiment with octagons this design has grown into a 'real' font fit for headlines and messages to suit October and Hallows Eve/Halloween/Samhein. I'll add MoreLatin diacritics if you need them.  It would look good on cards for Halloween.

As part of my "First of month ..." series here is an outline font for July, ready to fill with juicy summer fruit and (ice) cream :)

Alternative letters with diacritics (free floating instead of attached, easier to read but less fun to look at;) ) are on the LC for French and German texts. An alternative 'S'  which doesn't quite follow the construction rules but might be of interest, is on the LC 's'.

Chunky decorative basic set of useful glyphs. It has the same width as the other Changle fonts so it can be used with them for more visual impact. Changle consists of UC letters only, on the LC position are the UC with the thick vertical on the right.

I don't know if this has been done before.

It's just a simple & elegant solution utilizing 4 parallel lines.

See how neat the letter 'B' is formed by 6 rectangles.