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
A more bookish take on Comicool, made for more comfortable general reading. It's still useful for comics, as well!
Many letters were squared off in the corners, lowercase letters were given stems, and an assortment of glyphs were edited for more style.
This is the third iteration of Comicool... rather than develop them all toward one style, I tried to make each iteration the best it could be. The result is three distinct, but still compatible styles. This one is probably the best for body text!This is a clone of Comicool
An edit of CMunk's brilliant Monotwist that tries to increase legibility even if it reduces stylistic consistency a little. Notably different are most letters with lines that end in curves (such as 'C', 'f', and 'S'), plus 'I', 'i', 'J', 'j', 'l', 'M', 'm', 'Q', 'r', 'W', 'w', 'Z', 'z', and most numbers. Numbers make heavy use of crossing curves, which is an effort to set them apart from similar letters (such as '0' vs. 'O'). Some chars have been added, such as attempts at the copyright and trademark signs. Greek and Cyrillic haven't been touched yet. With 1px spacing between chars vertically and horizontally, this should fit in a 4x11 box per char (each uses 3 blocks of width at most, and 10 blocks of height at most including 2 for descenders).This is a clone of Monotwist
Aenvidere (the normal weight version) still needs fine-tuning and kerning, still. That will come, eventually :) At the moment I'm quite busy doing too many things concurrently.
Check the font description for Aenvidere AGardin for details.
At a later date I'll publish a squared-off version of this. Aenvidere SQ will have the same glyph style but will be wider than the other versions which might make it less useful as a "tool" to attract attention when added as splash insert in text that uses another Aenvidere version.
I love the look of this style. The name is self explanatory ;) if you know French.........
UC, numerals and some symbols have one line thicker than the others, LC only has the thinner lines. LC can be used on its own if even thickness of lines is desired but it is 3 px shorter than UC which will show clearly when using Basic Latin LC in combination with Hebrew, numerals, some symbols and some punctuation marks. Cyrillic and Hebrew added. Latin1 will come soon.
https://fontstruct.com/fontstructions/show/217312/track_filledThis is a clone of Digitalis
Very stressful assembly of bricks, I thought I would not finish it on time. Uff! Some glyphs are still expecting to be included in the font. WIP, and kerning.
Sort of a semi recap of the lettering found on the second issue of Polish avant garde architectural magazine called "PRAESENS".
It got published throughout the first part of the previous century and was similar to other magz from that era such as: DeStijl, Wendingen & Het Overzicht.
It's not super accurate but still a fairly recognizable and cool looking type. I already made a pro version of this lettering in the past with FontLab Studio, which closely capturing the exact original design.This is a clone
Inspired by the Maze Set. A technical fontstruction showing the usage for thinner macaroni bricks. The logic for possible counter relation:
1) Every letter is filled with thinner version of itself (self-pattern fill).
2) Outline vs Inline, emphasizing the "opposite" meaning of counter.
An attempt to recreate the lettering seen on a early 1900's poster ad for "Van Nelle" coffee.