Chcel som vytvoriť klasický font s rožšírením viacerých znakov tak, aby sa zachoval jeho vzhľad spojený so serifmi a preťahmi, ktoré obsahuje
A display typeface (probably best viewed small, I'm aware!) based upon some physical type I made from dark food colouring etched into sugar syrup. This was to represent the brief theme I picked of 'unstable', hence why all the characters are completely induvidual in size and shape. I have also published a second version which displays what happens when the food colouring bled into the sugar syrup.
I decided to be laynecom for a day, and this is the result. Didn't have time for numbers and punctuation though, unfortunately...
Some alternates available in Extended Latin A. Suggestions and critiques encouraged, as always. Thanks and enjoy!
This one-eyed character set places one circle-serif to start or end strokes somewhere on each glyph (except "O") in the set...hence it's name. Angled serifs acting as hands or feeet (or tails?) are used elsewhere. This is derived from the base font (lc) I used for previous efforts. I made it tall and then thought Cyclops (for SerifComp) to use now since I never released it (full disclosure). Anyway, a different view of what serif can be :)This is a clone
G1 Radia. A scaled down version of an originally larger fontstruction. Lots of details with smooth micro bullnose serifs, high contrast stroke lines, and decorative ball terminals.This is a clone
G1 Obsidian Black. Created around 2009 and incomplete due to brick limitations, now updated with new bricks as originally envisioned.
G1 Valora. Extreme serif titling caps. Maxing out 48 brick height for Serifcomp. Not enough room for lowercase. Not enough time for more characters.This is a clone
elza: serif meets ball terminal... I found out the Germans actually have a word for this: 'Tropfenserife', which roughly translates as 'teardrop-serif'. Normally appearing at the end of strokes in letters such as a,c,f,g,j and r, I have tried to build this font around it, using it as its main design feature.
More of an experiment than an attempt at an amazing typeface, but I thought it'd be a fun entry nonetheless. Don't let the creation date fool you: I started this design in early 2014. There were many issues that had to be remedied before publishing, most notably the lack of characters and major discrepancies between the shapes of serifs (some were entirely triangular, others entirely curved). It's still heavily a work in progress. Suggestions are encouraged, especially for the Q and punctuation. Thanks and enjoy!This is a clone
(This font is dedicated to my dear friend Miguel and his wife María. Miguel just died on 26/may/2012. ¡Nunca te olvidaremos, compañero!)
Work in progress (kerning and more glyphs to come).
This font draft was created with the theme of massive, I wanted to create something that looked physically imposing and noticeable. To create the structure, I looked at buildings and cityscapes around the busiest parts of Bristol City and wanted to play with perspective as if the viewer was standing beneath a building and looking up at it, I ended up making a font that reflected the uniformity and scale of buildings.This is a clone
My first entry for Serifcomp. Originally created in 2013, when I still had little knowledge about the finer details of type design. I've made major changes to the original design while trying not to lose its original feel (avoiding diagonal strokes, for example). I ended up making major changes to M, Q, T, W, f, k, m, q, r, t, and w, and minor changes to a bunch more; a ton of kerning was also required. It's not very polished yet, but it's a start...
Some alternates are available in Latin Extended A. As always, suggestions and critiques are welcome. Thanks and enjoy!
CAPITAL LETTERS HAVE A WHITE STRIKETHROUGH. LOWERCASE LETTERS ARE COMPLETE.
TO GET THE PARALLAX LOGO (MY WEBSITE), TYPE “%.”
ALSO SEE THE TWO-DIMENSIONAL VERSION OF THIS FONT, “PARADOXICAL-VORTEX-FLATTENED.”
• 2017:11:30 — PUT THE STRIKETHROUGH ON THE CAPITAL ACCENTED CHARACTERS. ALSO FIXED A SPACING ERROR WITH THE “$” SYMBOL.
• 2017:12:01 — DUE TO POPULAR DEMAND, I HAVE ADDED A HUNDRED AND FIFTY NEW AND ACCENTED CHARACTERS.
• 2017:12:02 — ADDED EIGHTY-SIX MORE CHARACTERS, BRINGING THE TOTAL AMOUNT OF CHARACTERS TO THREE HUNDRED AND FORTY-ONE. ALSO UPDATED THE “¥” SYMBOL AND THE SINGLE ACCENTS.
Richter is a font inspired by the idea of instability. I initially looked at the idea of falling; the aftermath of an earthquake. However, the current design looks not at the aftermath of an earthquake, but at the aftermath of falling. The design is heavily inspired by breaking, smashing and the general consequences of an unstable object splitting apart.
Gloria is inspired by 1930's architecture. The theme for this idea is ‘destructive'. I looked at the exterior of buildings and the disappearance and destruction of 1930's architecture and the art deco era and style. The font is a combinination of curves and straight edges which expresses the style of architecture from that time. The detail on the letters will look better at a larger scale so it would be best for display. Anyone wanting to convey a period time or the art deco movement this is the font for you.
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.