Last weekend I was feeling a little nostalgic and decided to review my first ❤️ FontStruction (I made it in 2009, over 14 years ago). Time and fonts have passed since then, but I still like the overall look of it, so I decided to give it a facelift: I changed some important things about the diagonals and the building of quite a few glyphs, as well as restructuring the overall design, homogenizing it a little (taking into account my inexperience then), adding kerning... Now I present it to you again, hoping that you like its current appearance and that someone sees in it the value that I see. Thanks in advance.This is a clone of zamzibar eYe/FS
Black and rounded display font. Made with 2:2 filters, x height = 2 bricks (yes, truly), UC height = 2,5 bricks, and descenders = 0,5 brick. Plus: "ff" and "tt" ligatures placed at the "fi" and "fl" glyphs, and a lot of kern done but more in progress. Enjoy, please.
PS: Thanks to @Sed4tives for his continuous, selfless and very helpful help on improving this font. I'm in debt, compa!
https://fontstruct.com/fontstructions/show/2256589/sidetracked-6This is a clone of zimonart R eYe/FS
A sans serif display unpretencious font with a slightly futuristic touch. Readable even at pixel size, although its legibility decreases somewhat when used for long stretches of continuous text. "ff" and "tt" ligatures available.
PS: My huge thanks to Sed4tives for his much appreciated help.
Unicase font with the best of the 80's flavour and the great Expressa typeface in mind. A new try melting frontiers between upper and lowercase, all in a row. Hope you've fun with it!
This is font named "InfiniNikiFanStruct2023 Max" Was designed by FontStructor description:
Larger than 9999999999x glyphs.
A good font and best font ever!!!!
꧁ Inspirations ꧂
Gs Unicode 2.0
InfiniGlyphs Max 1.3 (we found is out than Gracian Gonzalez-Clemente account).
Electronic data/Futuristic Weegee
꧁ Milestone of glyphs ꧂
꧁ Links ꧂
Enjoy this, Good luck!This is a clone of InfiniGlyphsStruct Max 3.0
KThis is just a silly unicase font with alternates, made with simple squares and triangles (and some few other bricks)... But the colours captivated me. I hope you like the result. PS: You can also find an additional colour space (if you need it) in the "|" glyph.This is a clone
This is an Soniano Sans Unicode 2.0
More SML, More Greek, More Cyrillic, Armenian, Superscripts and subscripts, More number forms, the character count is 2424!This is a clone of Soniano Sans Unicode
"InfiniGlyphsStruct Max 3.0" was built with FontStruct
Larger than 6969696969x Unifont full's glyphs. when ﬁnished.
Note that I can't create the flag glyphs or sequence glyphs. E F 10.
PUA Assignment name list:
Geometric shapes Extended-1
Combining Marks Supplement-1
Greek uppercase final sigma variants
PT PUA letters
Number forms Supplement-A
Font alternatives for numbers
Shidinn w/ Extensions
Font alternatives for All letters
Greek supplement 1-2
Number forms Supplement-B
Specials supplementThis is a clone of FS 126Sans
Made with the well-known Grafilone typeface (by Bo Berndal) in mind, but more elongated and avoiding its curious roughness. In addition to the basic set of glyphs, some special ones have been added and the Cyrillic alphabet has also been included. The ligatures "ff" and "tt" are located on the characters "ff", "fi" and "fl". Enjoy it, please.
VOLLE BUISJES — Geometric sans-serif style
[ INTRODUCTION ]
This font had derived and materialized from my previous FontStruction called Buisjes, and had innitially been planned to be made into this “solid”-style instance that would've then were to be combined and included to the original master font. That idea was later canceled when I decided not to make this part of the “Buisjes”-typeface.
I still went on completed it though, but I was now simply treating it as this unrelated new font instead.
The original “outlined”-variant still stood testimony in this second stage of development, as it served as the global basic backbone for this. But, since it now no longer was bound by accurate representation I could start utilize more dynamic sculpting techniques and make minute adjustments that incnclude some optical corrections, as well as implementing a slight more polished looking geometry.
[ TECHNICAL BACKGROUND ]
I took a clone from “Buisjes” and started modifing it into this new solid style. What I basically did was utilizing the “brick swap”-method in the FS-editor to replace every brick inside the font's “My Bricks”-palette. By doing so, essentially converting the font one-brick-at-a-time into this 1 : 1 conversion of its source without making any additional changes to the actual glyph-contours.
After a while due to some undesirable result that came from replacing the original bricks the design took a different turn when I started realizing that making an exact 1 : 1 conversion into this solid style wouldn't generate the most desirable looking font. This new solid version that was rendered from the “brick swap”-process seemed to have several optical complications, that when compared to the original outline version, had quite the different effect on its physical properties as well as the aesthetic quality of the letterforms, and had far less visual appeal. These newly presented optical misfortune also had a direct negative effect on the font's legibility. In oder to gain a better understanding as to why it took a toll on legibility some additional thing needs to be explained first, to make sense of it all later. This explains in short the visual effect of added contrast that comes from that “bi-linear”-characteristic nature of the outline version, which employs so much more emphasis to the font's overall geometric properties of various form, and therefor to the contour shape of a glyph. In return this has a direct impact on the overall effectiveness of these forms.
The reduction of this additional contrast within the font's “positive vs. negative”-whitespace balance for the solid version results in a letterform that has a rather weak representation of its several typographic components as well as for each of the individual letter-parts that form a whole, which also help to distinguish one letter from another. In simple words this means that a solid style lacks a lot of that emphasis that is present in the the original outline version, and makes for a far less pleasant and effective font.
Another issue I had with the 1 : 1 identical conversion was the unanticipated but pretty drastic deterioration of its initial “wow”-factor in the solid version that was generated. No longer beneficiary from additional added value that came with a more “decorative”-characteristic that is present within a outlined glyph contour. Also the “bi-linear”-nature of the outlined letters sort of gave the impression it was putting double the emphasis to the typographic parts and the geometric properties that make up each letterform. The rather squarish “box”-like characteristics of the lettering became much more evident in the solid glyph face. Shifting visual focus from the previously more ornate display attraction away towards this more “mechanical”-style that is this rather plain and somewhat shallow looking flat faced letter.
All of these were things that worked out just fine in the font's outlined version, but not so much in terms of a solid “filled”-like style.
Here are some of the things that cause trouble within an exact 1 : 1 conversion into solid bricks:
• Enclosed typographic elements render much thicker than what is considered “acceptable”
(requires optical correction)
• Diacritics render too thick and often too big
(requires a complete re-design)
• Radius of FontStruct's default solid circle arc connection brick is too small
‣ Making a solid font constructed from these to look compressed
‣ Arc intersection point not sitting deep enough
• Reduced emphasis in depth of geometric form
‣ Simple rather “feature-less” and “squarish”-looking geometry
(both requires numerous custom composite bricks in order to break-away from these constraints)
— The combination of the above in terms of the appropriate adjustments required to make optical corrections in order for it to have balanced proportions will have such significant impact to certain aspects of the physical presentation of the letterforms that they no longer share that seamless overlapping cohesion, and it couldn't really classify any longer as being this solid / filled style instance to the original master font.
Essentially what this meant is that I have decided not to make this part of the “Buisjes”-typeface. I still went on completed it though, but now simply treating it as a new unrelated font instead. The original outlined version still stood testimony as it served as the global basic backbone for this. But, since it now no longer was bound by accurate representation I could start utilize more dynamic sculpting techniques and make minute adjustments. Include some optical correction, as well as implementing a slight more polished looking geometry.
That wasn't all (LOL) but yeah I'm done typing for now!
Hope you like it, more info follows..
CheersThis is a clone of STF_BUISJES
PHOTONIA (Pro) - 70s future retro style
70s style reverse contrast sans with future retro aesthetics, perfect for projects with a vintage sci-fi, space age or computer theme.
This is actually a refurbished and extended version of an older FontStruction I did back in 2019. The original PHOTONIA was a cool looking little work, but didn't quite made the most of its design concept. Inexperience and poor design decisions had led to inconsistencies and other flaws throughout the font. Besides those it also had a small character set that mostly consisted out of the basic Latin block and bare essential symbols & punctuation marks. But imo it still had quite an interresting retro vibe and the potential to be more. So I decided to give the old project some well deserved refreshments.
First I started eliminating the inconsistencies that were present in the older work, than I continued polishing and re-design / modify several characters hoping to create a greater overall unity to the entire piece. Once I was fully satisfied with this renewed improvements it was time to build and expand the character set towards a more complete lingual and typographic support.
➜ ⚠ Previous Version:
▶ Basic Latin only
▶ Minimal kerning
➜ ⚠ What's New Inside:
▶ Additional Latin and accented Latin
▶ Many glyph alternative forms
▶ Additional symbols and punctuation marks
▶ Horizontal box drawing (page deviders)
▶ Typographical symbols
▶ Ornamental printer's characters
▶ 1680 stored kerning pairs
CheersThis is a clone