Topolegs was originally inspired by the theme Filthy. The idea of compact lines came from looking at the shapes chewed into chewing gum pieces which are wrongly discarded on the floor. Using topographic maps I created the lines for each letter respectively hence the naming of the font. This is a follow up of the font I previously created called Topo.
This is a clone of TopoName is a pun and a work-in-progress.
This is my first try at a serif-style font.
If you need any character set specifically, message me and I'll add them ASAP.
Contains:
-Basic Latin 100%!
-Latin Supplement 100%!
-Latin Extended A 100%!
-Latin Extended B ~65% (will most likely never be finished)
-Cyrillic (Basic Russian: 75%)
More coming soon!
This is a attempt at starting another collaborative FontStruct community project to thank for a decade of FontStruct's web application and pay homage to its creator, Rob Meek.
The first initiative for a community collab fontstruction originally came from fellow user Funk_King, and resulted in FS Collaboration 1. A second round of creative collaborations was proposed by Geneus1, which resulted in World of Thanks. Two exceptional expressions of gratitude towards each responsible for making the FontStruct web application available, featuring contributions by various community members.
Now, more than 9 years after the second round World of Thanks was published and (sadly) had last seen activity, I thought It would be a great idea to celebrate a fontastic decade under the belt of FontStruct.
Therefor I'd like to propose a third round of creative collaborations.
This is an opportunity for all users who have missed out the first two rounds, and say 'Thank You' for the awesome, worlds most accessible, freely available font creation application, that is FontStruct.
All credits for this concepts originallity should go to Funk_King, as it was his brainchild, and I most likely would've never came up with it myself.
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Guidelines are fairly simple (but could possibly change at a later stage)
1.) Send a message to reserve your glyph('s) (up to 3 max.). People added to the list will be sent the info to access the collab account.
2.) Say 'Thank You' in your own words/language. (Spanish, French, Italian, etc.)
3.)Work should only be done on your own glyph(s), unless approved by the original designer!
4.) The size of the glyph('s) should roughly be between 32 and 64 bricks in height.
5.) The current person working on the font must inform the next person on the list that they are finished, so work will not be lost by working simultaneously. As well as keep the project running.
6.) Once finished, add your username, language and/or glyph description here at the bottom.
7.) If you are posting a message in the comment section from the collab account, end the message with your original username, so we know who you are.
8.) When possible, post a sample image of your contribution in action. below in the comment section.
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The initial font was cloned from DJNippa's 'All Composites saved in MY BRICKS' (big thanks to this user for allowing me to use this fontstruction brick toolset).
It has been slightly modified, removing all bricks from the editor grid, preserving only the saved set within the 'My Brick' pallet. The small square shaped brick in 'My Bricks' that is used as glyph indicator also marks the end of DJNippa's brick tool set. All bricks beyond this point are most likely the result of of glyph-specific composites and should under no circumstances be modified what so ever.
It is also possible to work on your personal FontStruct account by manually cloning DJNippa's or this font, and once you finished your glyph(s) simply copy/paste it from your account into the collab account.
Have fun structing!
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FORMAT:
letter-(description) word (language), by user
A-(Ligatured Sans) Bedankt Fontstruct! (Dutch), by Sed4tives, B-(Stencil Sans) Bedankt (Dutch), by Sed4tives, C-(Circular Display) dankjewel (Dutch), Sed4tives, D-(Minimalism) 謝謝 (Mandarin Chinese), by JunYou, E-(Artdeco) 謝謝 (Mandarin Chinese), by JunYou, F-(Minecraftio) !תודה (Hebrew), by BWM, G-(Rainy Days) ¡Gracias! (Spanish), by BWM, H-(DYMO LetraTag Interface) ghIlDeSten! (Klingon), by BWM, I-(description) 고맙습니다! (Standard Korean), by Bluemon, J-(description) word (language), by user
This is a clone of All Composites saved in MY BRICKS 3.0Another attempt to make a readable font narrower than Arial Narrow. I am basing the letters on ovals now, to try to make them easier for my eyes to deal with at small sizes. Works well at size 9. Arial Narrow is still better than this at size 8.
This is a clone of UrialFor reason lost in the mist of time, I wanted to do Cyrillic letters. Cyrillic text looks really cool written down, no? Maybe that was the reason. Who knows.
However, not knowing Russian at all, the nuances of the written script are unknown to me. Hopefully, I got at least some of the letters right.
This font was created around the theme of community. I thought about different meanings of community, considering groups in close proximity. This led me to look at seed migration that eventaully led to fairy rings, also known as mushroom rings. I constructed this alphabet to work as a group, fitting together like mushrooms in a fairy ring.
A YouTube user named, Willow Rolfe, So it's time to make a typeface for real.
Unleash the power of the... SLAPPERDAPPER! For the whole family!
a typeface inspired by the music of this artist, billboard lettering and brutalism
SJABL00N - A futuristic looking display stencil
It is far from perfect, and especially the symbols and punctuation marks could here and there be better.
I think this was initially inspired by the likes of Wim Crouwel and similar graphic designers.
I hope you like it
This is a cloneTUBULAR LUMINII - Rounded inline display sans
◇◆◇ ❒ CONCEPT ■ ■
⇛▸⇛ Font that mimics electrical gas-discharge tubes (Neon)
◇◆◇ ❒ BACK STORY ■ ■
A larger potion of the Neon-fonts that are found on the web often have these quite strong emphasis on their decorative design aspects, and a lot of them come in elaborate looking complex styles and form. Besides the numerous optional different personalized conceptual decorative elements implemented into the design, many typefaces also regularly use more commonplace modifications such as; ▸multi-linear, incisions, patterned etc.
◇◆◇ ❒ THIS FONT ■ ■
Instead I went with a clean, simple basic geometric letterform, one that is essentially mono-linear at it's core. The one major key element that I have incorporated to the concept is that unmistakable in-line stroke. This was done to give it more of a convincing 'tubular'-concept as is the case with a real neon gas tube.
The other less pronounced but nonetheless fundamentally important design feature are the closed stroke-endings. Apart from being this extra little personalized element, it also suits a technical purpose. That of which is; "To fully preserve all 'in-lined'-negative (white) space in full isolation". This enables somewhat easier 'end-use' access to layer atributes or compound paths in graphic design software.
◇◆◇ ❒ FS TECHNICAL ■ ■
It's constructed mainly of connector bricks and a set of custom composite bricks, expanding FS's default connection brick set. Enabling greater viariational depth and complexity for custom shaping.
◇◆◇ ❒ FS METRICS ■ ■
❖ ❖ Metrics ⇒ 〔measure in ⇒square grid units〕
〘▸〙〔Glyph Metrics〕
○ Brick Size Filter: ~ 2 : 2
○ Cap-Height: ~ 4.5 ✕ 4.5
○ Ascent / Descent: ~ 0.5 ✕ 0.5
〘▸〙〔Font Metrics〕 ❖ ❖
○ Font Size: ~ 7.5
∗ Full Em square (incl. ⇒ symb. & punct.)
More soon..
Cheers
This is a cloneDIDUDE (Regular) ― Contemporary Neo-classical "Didone" style serif
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The idea revolved around the basic concept for 'Didone'-style typefaces.
A genre characterized by modern unornamented standard letterforms, which was very popular for general-purpose printing during the 19th century. DIDUDE is by no means an attempt to embarge on a quest trying to deliver a conceptual overhaul of this genre. Its main goal was to achieve greater simplicity, without sacrificing that traditional neo-classical personality. Instead of leaning towards the typically more 'Humanist'-influenced style with distinct stroke modulations and proportional forms, geometry and symmetry were introduced to design this more simplified take on the traditional historical style. It has been crafted with a structural logic of its own.
"Less human, more geometry.."A fusion of geometry and neo-classical elements that blends the past with the present.
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Main distinctive features for DIDUDE (Regular) are:
Unbracketed serifs, vertical orientation of weight axes with a strong contrast between thick and thin strokes, slightly squarish-shaped round characters and its emphasized business-like nature. So the majority of important characteristics that distinguish the neo-classical style have been incorporated.
Certain features that were implemented into DIDUDE's design are somewhat setting it apart from most other, more traditional typefaces in this genre, and most notable is the more relaxed contrast ratio that was choosen for this particular project.
Further personalizing touches were made to stroke endings and curve geometry, providing slight 'calligraphy'-inspired decorative variation with occasional spurs, breaks, curved finials and plain monolinear terminals.
Topping it all off with an ever so gentle height deviation that sparks a subtle rhythm to any line of text. Last but not least, most of the optical clunkiness was addressed and either corrected or compensated.
There is a large character set that includes a little bit of everything:
Basic latin character set, latin-1 supplement set, stylistic ligatures and glyph alternatives, punctuation marks, lining and non-lining text figures, roman numerals, (Partial) Greek and Cyrillic, also numerous non-lingual technical, mathematical and decorative stuff was included.
Only partially kerning for now and this remains a WIP.
Nonetheless, I hope y'all like it so far..
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Here is a link to the other font style in this typeface family:
STF DIDUDE (Condensed)
Cheers
This is a clone of STF_DIDUDE_(Condensed)A Sci-Fi themed display font.
This is my first shot at making an actual display typeface. Honestly, I am quite impressed at how this turned out.
Although this is still very imcomplete, I am planning to go back & continue this Fontstruction soon.
This is a cloneLast week my beloved iMac stopped working for good. It's been more than a decade of a fantastic relationship, but now I have to accept the fact that it won't be with me anymore... With that in mind, I've collected these vintage Mac icons, most (maybe all) made by the great Susan Kare in the best 80's. Curiously, you will see that many of them have remained until today with very few modifications, but others (that dot matrix printer, those faxes, those floppy disks...) have definitely passed into the History. I remember with particular displeasure the d*** Bomb, which appeared unexpectedly when the computer crashed -too frecuently- and you then lost all the work not saved manually. Freaky old times. My favourite character still being Clarus, the dogcow (at the Z, of course). Hope you like them.
A: Mac-happy / B: Mac-unhappy / C: Mac-working / D: Bin / E: Bomb / F: Watch / G: Save / H: Save-as / I: File-text / J: File-vector / K: File-graphic / L: New / M: New-text / N: New-vector / O: New-graphic / P: New-type / Q: Compress / R: Font-kit / S: Font-stack / T: Alert / U: Prompt / V: AppleLink / W: Fax / X: Fax-to / Y: Command / Z: Dogcow (Clarus).
a: Print / b: Arrow / c: Hand / d: Inbox / e: Inbox-in / f: Inbox-out / g: Mail-drown / h: Mail-wings / i: News-headlines / j: Newspaper / k: Easy-access / l: Quick-access / m: Direct-access / n: Folder / o: Folder-speedy / p: Folder-hierarchy / q: Compress / r: Box / s: Desk-drawer / t: Top-drawer / u: Global / v: Library / w: Personal-archive / x: Threaded / y: Volume / z: Zoom.
0: OK / 1: New-blank-file / 2: Pencil / 3: Eraser / 4: Lasso / 5: (Idem) / 6: Brush / 7: Fill / 8: Spray / 9: Apple-logo.
MOVIEMAX — Groovy bold & roundish 70s display sans
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Moviemax is a bold display sans-serif that has a groovy 70s offbeat look. Essentially an all-caps lettering concept with simple looking letters. The basic geometry and inversed contrast with its soft rounded finish create an immediate endearing effect.
The default characterset comes as all-caps (unicase) only, with no glyph alternative forms. It has been completed with additional symbols and punctuation marks.
To make thing a little more interresting I have also included a full (A-Z) alphabet set of small-caps letter modifications with drastically altered proportions. Complete removal of the inversed stressed contrast to make a more simplified and cleaner looking minimalist letter style. Their size was also reduced to 50% of the cap-height (scale ratio ≈ 1:2), providing an optional alternative for the missing lowercase forms in the font.
To finished off this extra set of small capital letters, another additional full (A-Z) alphabet set of large capital letters was included. These letters have also been scaled down a bit to better fit with the small capital letter set (scale ratio ≈ 6:8 or 75% of cap-height).
The 2 sets include a slight more unique and stylized level of sophisticated characteristics to the font, and when used combined together in a mixed-case text format creates nice text capitalization.
These alternative forms are located in the Halfwidth and Fullwidth Forms unicode block.
A set of basic punctuation marks that align with the small capital letters had also been included and could be found in the Halfwidth and Fullwidth Forms & Private Use Area 2 unicode blocks.
I hope y'all like it
Cheers
NO KERNING DONE ATM!!!
A font mainly inspired by Gilroy. Some glyphs are not really great, so improvements and clones are really welcome right now.
Latin accents hopefully soon.
And I know this is ugly. Cuz there's no kerning.
Thanks to Sed4tives for fixing like half of the glyphs, really appreciate that.
DALLIANCE GROTESK — Geometric gothic grotesque
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Dalliance Grotesk is a solid sans-serif lettering concept that builds on the ‘core’-lettering concept of frongile's amazing work called Liaison Grotesk
Liaison is a renegade take on the gothic grotesque sans-serif style. A wonderful mix of early egyptian styles that get blended with subtle neo-grotesque hints, held firmly together by a rigid condensed geometric letter-backbone. The crude design of Liaison provides a very distinctive and unpolished appearance, that breaths a lot of visual character.
Its geometric quirkiness and rather irregular letter widths, just the slight imperfect overall lettering simply came together perfectly in frongile's original design. Making this a text-book example as for whyback in the day this style became known as ‘Grotesque’.
Yes, Ugly.. Obnoxious.. and... ‘Always in your face’
— Exactly how we like them best...
Dalliance Grotesk is the result of harvesting some of that original soul personality as was seen in Liaison and borrows it for extrapolation into a different font.
While Dalliance tried to preserve much of the overall letter-backbone structures from the original source, its primary aim was, to push towards a more polished finishing touch.
Simplified letters that were stripped of most quirks and bits, keeping only their rough shape intact.
In addition, all curved letter-parts were fully re-build with smoother contours and more natural flowing curve transitions. The spurred top and bottom stroke-stops for the lower-case letters had been changed so that the top now slightly differ from the bottom spurs (different tapered angle). Also the top spurs all have been slightly lowered to make them sit a tad bit bellow the x-height of the font.
Main modification revolved more or less around achieving cleaner overall text rendering and better optimization for body copy in small point sizes. In the process of getting there, I carefully adapted each glyph equipped fit, to appropriately accommodate all the ty(pro)graphic goodness one can possibly hope to pull out of a Fontstruct.
Smooth (near)-Bézier contour quality, optical compensating correction adjustments, such as overshoots, small vertical stressed contrast and improved stroke joints. Also the font's proportions for height to weight ratio has drastically changed.
— Utilizing sort-of an attenuate 'knockoff' to frongile's original concept for his Liaison Grotesk.
I would like to thank him for allowing me to harvest the basis of his lettering-concept and letting me re-use that as the stylistic back-bone in the creation of my own font.