ere 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 is a clone of n8 Solstice Wege
At the moment I offer this as my 3rd competition entry. It showes all horizontal and vertical lines that were kept hidden under black square bricks 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 stencils, and the present n8 Solstice Wege has the feel of a font shown as a negative.
The original font didn't disturb me, this design however kept nagging me, wanting to get out in the open. I couldn't resist this pressure and turned its clone into the usual positive black-on-white presentation.This is a clone
This started as a doodle of a strangely shaped Z and a number 2 with a slanted links created by unusual shapes. I tried to design certain letters with lines that broke with tradition, 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 so 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 made me look carefully 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.This is a clone of n8 Solstice Wege
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.
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.
A decorative font to celebrate my birthday month :) Inspired by Art Deco elements I saw on a shop window and one of my early designercizes which thankfully I had kept private ;) because it was too muddle-messy to show.
I think that this version looks good enough to offer as my June freebee :D
Further diacritics will follow after summer.
This design was inspired distantly by medieval manuscripts where the first letter of a paragraph (or a page) is much larger than the LC.
For names or first words in a sentence: type the UC then follow directly with the first of the desired LC; all following LC in that word, or indeed in any other usual LC word, will require 1x 'space' between each letter for legibility. Some combinations of UC-LC might look better if a 'space' is used after the UC, which of course eliminates the overlap I intended but will help visually.