Searching for more “Decorative” fonts?
Buy and download “Decorative” fonts at MyFonts.
Black Duck is a typeface that is inspired from modern-blackletter typeface and duck characteristics combined. Duck meat's crispiness and strong taste, and the duck figure itself are the main characters inserted in the making of this typeface. The slanted figure shows its timeless and versatile characteristics.
My first fonstruction is based around the theme of malnutrition, but focuses on lesser acknowledged end of the spectrum, over-nutrition. I took inspiration from nature of skin and fat on overweight or obese bodies, putting emphasis on the folds and bulges you might typically see on the skin of a larger frame.
The current month seems to hold a meaning of threads: of fog, dew covered spiders' webs, barely-there things, feint perceptions defying scientific understanding and fine links with ancestors, to keep us in the present and enable open minds and caring souls to better the future. This abstract interpretation of Halloween has been designed to echo the traditionally mysterious mood to show the past (known glyphs, earlier FS bricks) linked in the present (on paper, in the FS previews, and using some of Meek's newest bricks I experiment with in this design) to create future (text will carry meaning to the reader, diversity of thought not experienced until after every glyph is finished, and beauty of text flow is visible only after it has been written). Totally within my personal plan for Night Pegasus' work: adventurous, alternative, divergent, different, exploring, experimental, unusual -- after all, the flying horse is free to visit any time any item or existence in this universe and any place in Fontstruct, to discover and weigh possibilities, to create its future from the past in it's present body and mind, and it does this cloaked in black as deepest night, undiscovered unless someone has their feelers tuned into mystery and taps into experiences of presence.
:.:.:.: Information to help you when using this font :.:.:.:
If a LC glyph follows a UC glyph: you need to use the space bar 6X to get the correct letter space (it will then match the natural spacing between LC); using only LC glyphs (or only UC glyphs) will give satisfactory text results as letter space is set by the programming. But you'll need to manually add the word space you want: between UC (or LC) words a minimum of 3 space taps for a just visible gap, use the space bar 6x for good spacing. Experiment!
Note: the full stop and comma have a line on the baseline to link with UC. There might be no need for a 'space' after those two marks even on LC? The apostrophy has a short line to link it to previous/following UC glyphs (note those link lines retain the meaning of the glyph when used with LC glyphs or an LC following an UC glyph).
SPACE BAR = a 1px space; tap 3x to get a small word space that's obvious
% key = a set of reasonably wide lines to match upper case verticals
_underscore = a space consisting of a long single line on base line only
I'm trying to figure out some diacritics before the 31st so this remains WIP
This started elegantly thin with rounded corners and the name 'memoire', but it developed some electric sharpness through parallel angled lines ;) demanding that I remove curved corners. Work in progress, one of these days I'll add Polish or very basic Greek glyphs .
Hello again! Here's someting I started dabbling with years ago, but never finished or published. Fontstruct bricks and functions have evolved since then so I decided to give the ‘font’ a facelift and make it a little more complete (still no plethora of glyphs but I'm ok with it for now). Circus wild west meets casino and slot machines. Gambling, gunpowder, acrobats and jesters. Wash down with tequila.
Decorative or Cyrcus font? Just a simple font with Cyrillic. Track changes (short slider) for connecting letters. Bala is the first part of the word balalaika and Balagan, an early Russian cyrcus or an open-air theater (https://ru.wikipedia.org/wiki/%D0%91%D0%B0%D0%BB%D0%B0%D0% B3% D0% B0% D0% BD)
See more: zylone 0,6 EYE / FS
http://www.psyops.com/crucible/
https://fontstruct.com/fontstructions/show/479802/effigy
TSA
I created this typeface around the theme of gregarious, focusing on gregarious plants. I started with drawing the letterforms in ink using a rolled up leaf. The results were twig-like marks which reminded me of the illustrations from 'A Monster Calls' so I developed the letters thinking how they could work alongside this or another story. The name 'This Wild Earth' is taken from the book and I think reflects the scratchy and bold feel of the typeface.
This font was designed around the theme word Elegant. I was inspired to create a typeface that was ornate and palatial; it is a ode to Baroque design.
I have tried to emulate columns for the body of the font and created a crowned frieze for some of the letters with decorative toppers for the remaining characters.
Diamundi is a very simple but funny patterned decorative typeface design that mimics facets(flat faces on a geometric shape).
And for that everyone that is checking this, please make sure you zoom in max. to see whats really going on, Even beter, make sure you've seen the sample image bellow, because the Fontstruct preview is total garbage due to my use of composite bricks at this grids tiny size.
Enjoy!
For the goddess Circe ... Elegant, feminine, joyful, rounded, with a positive swing to it. Working with shapes and 'frames' I made this for the "mix-and-match" set of decorative fonts called CIRCE. The caps can be used as a "majuscle" but might overload visually if used exclusively in a text? The LC are quite legible in smaller sizes. This font is part of a 5-font style set
Working under the theme of 'Rebirth', I have focused my first font on the idea of post-war architecture, or otherwise commonly known as modernist/brutalist architecture. Buildings constructed following the Second World War were built using new technologies of construction. These types of designs were known for their use of modern materials such as concrete and steel as well as their interesting geometrical forms. I was heavily influenced by the architecture featured in Owen Hopkins' book 'Lost Futures' which looks at the disappearing architecture of post-war Britain and how changing external contexts played a role in the subsequent destruction of these buildings.
A blackletter font charted from historic French cross stitch book Maison Sajou Miniature Album no. 6. The J and W have been added (at least, I think the letter in the original was an I, so I made a J to match). The spacing of the white dots and the top left flourishes on most of the letters are weirdly inconsistent.
The pattern was found at http://patternmakercharts.blogspot.com/2009/12/sajou-no-6.html
WIP
See more:
https://www.fontstruct.com/fontstructions/show/1720896/goldie-2
https://fontstruct.com/fontstructions/show/1411844/fs-quickconnect
https://fontstruct.com/fontstructions/show/1419531/disco-everyday-value
https://fontstruct.com/fontstructions/show/1410025/neoline
https://fontstruct.com/fontstructions/show/1418818/crocosmia
https://www.fontstruct.com/fontstructions/show/1669601/funkytown-plain-1
https://fontstruct.com/fontstructions/show/1762037/lotline