At the end of October I decided to dive into the Bricks 'Connect'. I started with the lowercase 's' & 'a'. Working out the minimal size I could fontstruct it, then expanded and tweak it from there to accomadate the rest of the glyths. You can still see these in the font above. As I progressed I came to love the thin white gaps, and then tried to have every glyth with some element of the curved white gap in it. Some were more successful than others. As you can see, I have included the less preferred options at the end. I've also designed some of the final glyphs in illustrator, as it was impossible to have all of them with one white line, without help from an external app.
The most difficult glyphs to create and ultimately the most satisfying once completed were the 'V' and '~'.
I liked the look of it so much I decided to create a whole family. Cableguynium 0 (which has no cables), CableGuynium 2 (which has 1-2 cables per glyth), and CableGuynium 3 (Which has 3-4 cables).
Unusually I struggled naming this font, I have early versions saved called Flowonica, Rubber Tyre, Ice Skater and Fibropticon, ..... eventually settling on CableGuynium as it was the most memorable.
ANY CRITICISM, GOOD OR BAD IS WELCOMED.
Upgraded version of Aenvidere (which is the original 'normal weight' version) made for one of my grandsons. The glyphs in this version have lines of different thicknesses which seems to make them and any text more interesting to look at, yet it continues to be elegant.
Numerals are taller than other glyphs, I wonder if a larger letter space might 'integrate' them more when used in a line of text?
Kerning has been done where necessary = on very few pairs: T+some LCs and F+some LCs but not yet on T and F with the corresponding diacritics; also done are TJ and LT. The "f" has been moved in the grid, and "f" and "l" have adjusted letter space. I think that the shape of the glyphs (with and without adjusting their positions/letter space) reduces greatly the need for kerning. Having said all that I'll print some text to check and will adjust kerning where necessary ---at a later date.
This is the most advanced version of Aenvidere (due to kerning), the other published versions will be kerned at a later date. I'm showing them nevertheless so that you can compare versions.This is a clone of Aenvidere
Thicker lines than Aenvidere AGardin. This is quite chunky. Yet it remains rather (good looking and) elegant. Kerning has to be done (check details of this in the font description on Aenvidere AGardin)This is a clone of Aenvidere AGardin
See more: https://fontstruct.com/fontstructions/show/1251300/atomised
https://fontstruct.com/fontstructions/show/661381/easytoseeThis is a clone of zoftly70 eYe/FS
Testing the new square connector bricks with a simple outline font.
I ran into an anomaly where one of the new bricks glitches out after saving. Easy to fix using other bricks, but I'm leaving it here to show some interesting effects the glitch is producing.
1. It looks like there is a boolean operation going on with it. Something we've been asking for for a while.
2. When grabbing the brick, it highlights an area of about 9 grid spaces, as if it were a group of bricks connected together. Another feature that has been requested for a while.
Anyways, the brick in question is the last one listed on the Bricks:Connect panel
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.
A typeface inspired by the theme 'systematic', developed through finding hidden shapes within geometric architecture and using them as building blocks for the letterforms. Sister font to - STACKED BLACKOUT
This font relates to the theme "Sharp" and is inspired by Cubist architecture. Cubist architecture is very rare and can be found only in The Czech Republic, especially in Prague. I took a core element of Cubist architecture, the triangle, and implemented it into a font. I divided each letter into sections and used different shades to make it look like decorative elements of a Cubist facade.This is a clone
Oil Spill is a font inspired by the theme destructive. I looked on the destruction of buildings at first and the cracks on them. More from that I looked on how stress can affect people and cause primature wrinkles, but I focused more on the habitat destruction and decided to work on oil spills. The design shows the relationship between water and oil and how people's activity in the sea can lead to disastrous consequences
This was unnecessarily hard to make. Most of the glyphs are drawn with continuous line. Each letter might have other ways of achieving the same continuous effect. But the main purpose of this fonstruction is to request some bricks from staff, I'll mention them in the comments. Thanks.
Geometric Art Nouveau lettering inspired by as well as trying to mimic Uncial & medieval Insular script letters!
Art Deco tile mosaic lettering design and background tile patterns.
It's designed to craft layers of typographic mosaics. It can create very subtle clear display text combinations when only layering text with just one or two backgrounds max. This will result in nice retro-ish mosaic typography. But beware, combining two or more background patters with for example different blending modes on each layer, this seemingly peaceful boy becomes capable of recreating the big bang!
All patterns are located in the Unicode block for Block Elements!
You know what, lets make this one clonable for everyone.
A large folded multiline display typeface design. I stopped working on it for now since it really started to become heavier on the resources, probably because of its dimensions.