64665898
Published: 8th November, 2010
Last edited: 14th November, 2010
Created: 18th October, 2010
Electrical Energy has opened the doors to whole new worlds of creativity, specifically when it comes to computer technology. The whole concept of video games and computer programming is something we wouldnt have dreamt of being able to do hundreds of years ago. With computer technology getting more advanced everyday, I find it astonishing to see what we have achieved since the very first computers and computer games, and it is mind boggling to think what we may be capable of doing in the future.
72234530
Published: 11th October, 2010
Last edited: 2nd February, 2011
Created: 11th October, 2010
A glyph made with glyphs, I dreamed this image and I could not take it off of my mind untill I've crafted this that you see. It's a little joke about the matrix of our creations... and now it lives in FS.
12035631
Published: 8th October, 2010
Last edited: 5th November, 2010
Created: 5th October, 2010
This is a font that i have designed and created as part of a project given in the first term of my first year doing Graphic Design at UWE. The initial theme for my project was "Decay" where I researched different types of rotting, erosion and decay of quality in every day objects. I then came to look at crumbling brick walls and developed my font from there. I've tried to show a lack in defined edges and emphasise a crumbled, smudgey typeface. I think it could be used as a relatively playful font,but could have strong impact if used for communicating the idea of decay or decompositon. This is a bold font, meant to be used big! Feel free to comment or discuss !
3221657
Published: 19th August, 2011
Last edited: 20th September, 2010
Created: 17th September, 2010
Experimental, noise, glitch, contemporary and technology.
The typography is a bit taken Interference substances and tilts.
58215817
Published: 1st September, 2010
Last edited: 22nd August, 2010
Created: 8th August, 2010
Work in progress. That is I'm still working on numerals and all sorts of foreign writing systems, but for "normal" use it's probably fine.
Hey, this is my 75th released fontstruction! I should revisit the heaps of private 'structions I've got back there and see if I can make it to a hundred.
233179484
Published: 12th June, 2010
Last edited: 11th June, 2010
Created: 10th June, 2010
An outline font, heavy and shaded 3D, and with rounded -;)- corners (thanks geneus 1 for the help). Upper case with some alternative glyphs (b, d, f, l, t...)This is a clone
5997124
Published: 24th May, 2010
Last edited: 25th May, 2010
Created: 21st May, 2010
This font imitates a 2D-barcode. I just felt like creating something chaotic. The lower case are alternates for the upper case.
2131128927
Published: 4th September, 2011
Last edited: 4th September, 2011
Created: 8th April, 2010
Releasing two more fonts within a day, well, after a huge break I couldn't come back empty-handed.
This is a remix of my most popular font, Sector 017, but this time it's clean and simple, only leaving random cuts and angles here and there. Still, it's a super-duper-techno-futuristic font.
A loooong time ago someone asked me to do a version without the famous eroded pattern. So I created this FontStruction and I've been working on it for... more than a year. Why so long? LOL I DUNNO.
Similar version is visible in many designs of TAMRECORDS (a Russian neurofunk record label) and the credit goes to Pixel Junglist, an Ukrainian artist who is responsible for their artworks (I guess he is...). He remixed the original Sector 017 as well, I think I've just made his job much easier :).
There are "Basic Latin" and "More Latin" character sets available +Polish and Cyrillic characters.
Take a look here: http://www.behance.net/gallery/TAMRECORDS/568101
It doesn't mean that I'm not going to rig up a nice sample pic. It's gonna be at least about 20% cooler than the one I made for Sector 017. This is a clone of Sector 017
701452217
Published: 16th February, 2010
Last edited: 16th March, 2010
Created: 14th February, 2010
I began this fontstruction as a challenge to create a seriffed pixel font with grid characteristics similar to iSlab’s 8 pt setting (bearing an x-height of four pixels). This inspiration began with similar shapes and roots as its predecessor, but evolved from there once it quickly became clear that those shapes really could not be reproduced with strict pixels.
Then I went on a bender creating the katakana and hiragana character set.
Then I went crazy with filters and single brick substitution.
1331410341
Published: 31st January, 2010
Last edited: 22nd February, 2010
Created: 29th January, 2010
The letter forms are based on solid square, where each letter form is created by removing only what is necessary to identify the letter and retaining consistency between the other letterforms.
9388644
Published: 20th January, 2010
Last edited: 4th April, 2019
Created: 17th January, 2010
Warning: Work in progress. I'm just putting it up because it finally has a complete lowercase alphabet & so is actually usable in limited cases.
The goal with this project is to create a humanist italic close to a Caslon, but within Fontstruct limitations. The x-height here is actually quite small: 6 blocks tall.
This one seems to stand small point sizes surprisingly well. At larger sizes, it begins to look jagged but that's actually kind of nice. Of course kerning is all over the place. Not to mention the lack of capitals, punctuation, etc. There will be changes. Use with caution.
166137850
Published: 22nd November, 2009
Last edited: 22nd November, 2009
Created: 16th November, 2009
This font consists purely of elements of musical notation. Some of the letters are a bit far fetched and it is only barely legible, but I like it, and maybe you should use it for musical notes instead of text.
58722910
Published: 8th November, 2009
Last edited: 14th April, 2010
Created: 8th November, 2009
I've made the lower case smaller, and it is no longer monospaced.This is a clone of Unfix
681216322
Published: 24th October, 2009
Last edited: 9th December, 2009
Created: 24th October, 2009
edit 04 Nov;;
Now with (some) diacritics! And more fancy glyphs! And extra flourishes! Arlen is a part of a healthy balanced breakfast. Try it today.
edit 28 Oct;;
I am humbled by the recent Top Pick award, since I consider this set a constant work-in-progress! Pieces will be added and changed over the next few weeks. So hopefully it continues only to get better and not worse. ;P
1012125826094
Published: 25th November, 2009
Last edited: 23rd April, 2015
Created: 17th October, 2009
A monospaced pixel font with over 8000 glyphs! 7 pixels wide, 12 pixels tall. Some characters may be wider than 7 pixels to make them connect with other characters.
711257015
Published: 24th October, 2009
Last edited: 28th November, 2009
Created: 17th October, 2009
More pxl love. And another expansion of Lex Kominek’s Trajedy majuscules.
The freshness of the original charmed me into creating an extended set of matching miniscules, diacritics, symbols and ligatures. But why stop there? :^)This is a clone
1274146257
Published: 26th October, 2009
Last edited: 2nd October, 2009
Created: 1st October, 2009
The ‘Sans Serious’ Series is a group of tribute typefaces meant to honor Dutch designer and typographer Jurriaan Schrofer.
Along with Wim Crouwel and Josef Albers, Jurrian Schrofer (1926 - 1990) was among the Bauhaus pioneers of grid-based modular typography and design.
Schrofer's work experimented with type, light, and color and focused on mathematical shapes and pattern.
“Schrofer made several attempts to create complete typefaces - one of which was wittily calledSans serious- but this was never his goal. ‘Is it necessary’, he wrote, ‘to make complete alphabets with upper- and lowercase, figures, diacritics and seriously adorned with a name, when the aim is merely a formal investigation into basic recipes’ Schrofer's domain was never the design of typographic alphabets, to be used by other designers, but always the creation of letterforms ‘made to measure’ as part of his own designs of - mainly - book covers and postage stamps. He created a rectangular alphabet as the basic element of his ever-changing covers - each based of the same grid but colored differently - for a series of scientific books, ‘Les textes sociologiques’ from Mouton Publishers. He made sophisticated pixel-based letters, all drawn by hand, and experimented with photographic screens as a means of distinguishing simplified letterforms from the background. He created logotypes built from custom-made letterforms, based on rectangular grids.”
“In his booklet ‘Letters op maat’ (‘Type made to measure’, 1987), Schrofer presented many of his experimental alphabets from the 1960s and '70s. The booklet was part of a series of goodwill publications edited by Wim Crouwel for Lecturis Printers, Eindhoven.”