49911217
Published: 28th December, 2012
Last edited: 29th December, 2012
Created: 28th December, 2012
Now with squared-off corners.This is a clone of fs Institutional
10558227
Published: 24th December, 2012
Last edited: 24th December, 2012
Created: 15th December, 2012
I am quite fed-up of this font. It leads to too many possibilities and variations.
I've left the variations on lowercase letters. Clone and come up with your own version.
103139135
Published: 24th September, 2011
Last edited: 21st July, 2014
Created: 11th September, 2011
Based on the logo for http://www.thememagazine.com/.This is a clone
2578310
Published: 15th September, 2011
Last edited: 16th September, 2011
Created: 15th September, 2011
Clone of Dot Dot Black.This is a clone of Dot Dot Black
112145527
Published: 3rd September, 2011
Last edited: 14th September, 2011
Created: 10th February, 2010
This fontstruction was started a long time ago. Yesterday, being bored (or something), I randomly clicked on page 7 of My FontStructions and found this. Being bored (or something), I clicked Edit.
Back in February 2010, I was able to take this fs only so far and came to a halt owing to geometry and FontStructor limitations. Those limitations, for the most part, seemed to have disappeared in the intervening time. I must've felt encouraged as I've been working on this fs all day today. As it turns out, when you work on something long enough, something will emerge. Et voilà. (I jest. ;)
Oh the soap box syndrome!
Visual aesthetics require two elements, namely, art and design. Let's examine each, shall we, the better to understand whence this came from and to what purpose.
Art has as many meanings as there are people giving them. For me, art is that visual that appeals to one, the stress being on 'one', and serves no practical purpose. Design, on the other hand, by definition*, must serve some purpose, must be reasonably attractive to those for who it is intended, and must stay within the limitation (whether explicit or implicit) of all that is (or will be) involved.
This and every other fontstruction, being visual in nature, has an element of art in it. Keeping the above art definition in mind, and as far as this fs is concerned, the art was my personal aspiration to try to do a diagonal stem of the A and the M and have the rest of the letters in such formation so that they fit like a glove with the A and M (without any effort on the user's part — but that jumps ahead to design). The February 2010 version of the FontStructor allowed me to achieve that very well. The art part was a start (yes, sorry, I couldn't resist the rhyme).
In my experience, any visual thing, no matter how simple or complex; no matter how involved or not; how unique or generic; how &c. and &c. may be termed art as if any one person appreciates it, it is art, albeit to that person only. So, I am satisfied how this fs looks, so the art is done. Also as per my personal experience, design is a much harder, difficult, involved element of getting something done right that also requires appropriate technical know-how to see it to fruition. The February 2010 version of the FontStructor did not allow the 'fit like a glove without user intervention' part. This morning when I started working on this fs, the September 2011 version of the FontStructor allowed me to do almost all that I wanted it to. (I say 'almost' because there were one or two custom bricks I required that I was unable to achieve, quite possibly due to my own inability).
The design confine [—if art gets a rhyme, so shall design—], with every letter overlapping just so, required quite a lot of geometric manipulation (not particularly apparent) to make sure any two letters fitted in properly. It got tedious quick fast in-a-hurry typing out manual kerning pairs (AM, ST, &c.). I had to type out all kerning pairs (AB, AC…RI, RJ, RK…SM, SN, SO…VS, VT, VY…ZZ…&c.) in Word (utilizing handy Replace functionality to speed kerning pair creation) and test every possible pair (even ones that are likely never to be used in reality—QK, for instance).
This being a design exercise, there had to be a purpose. My thinking was, staying within the limitations created by the art part, the font should work as an instant logo delivery system. Type a word in fs Instant—and, hey presto!, Logo (a gogo). It’s up to you to decide if I succeeded.
102177139
Published: 29th March, 2011
Last edited: 29th March, 2011
Created: 28th March, 2011
Nearly complete Katakana character set. Midori means green in Japanese.
42239862
Published: 14th March, 2011
Last edited: 13th February, 2012
Created: 13th March, 2011
Gothic pixel font inspired by Old English and RM Albion.
We (the place where I work) are attempting to brand ourselves because our field is getting a bit too crowded and we don't want to get lost in the clutter. In the process, we are exploring a lot of different styles. Not that we are unsure how we want to proceed or what our positioning will be, we want to ensure nothing obvious is overlooked. In the process, a lot of ideas are generated, some discarded outright while others —as long are they support the planned positioning— are pursued long enough to recognize if they are worth exploring further...or not.
Some letters from this font were developed as part of one of the proposed wordmark. Overall, it works without breaking any of our internally established rules. The problem is one of extensibility and adaptability for unforeseen future needs which this font is prone to cause owing to its personality. The logo work was done in Illustrator, of course. However, to see if the typeface has potential beyond the few glyphs of the wordmark (and not in small part due to its modular nature), I worked out the remainder of the letters here in the fontstructor. :-)
I'd appreciate it if I could have your constructive criticism on each or any of the glyphs and how they could be improved. Specifically, I am trying to avoid awkwardness in the coming together of any two letters. As you can see, it's very much a work-in-progress.
441210615
Published: 18th December, 2010
Last edited: 30th December, 2010
Created: 13th December, 2010
A less confused version of fs Confused.This is a clone of Confused
55226075
Published: 9th October, 2010
Last edited: 13th October, 2010
Created: 7th October, 2010
A TRUE HAND WRITTEN font.
No two letters are the same, or use any of the same brick configurations.
From my very own hand using an Edding 5.0 Calligraphy pen.
Only the upper case is available for now. Due to a heavy work load this week, and several non-starter comp entries, I've unfortunately been unable to fully complete the lowercase and numerals. :-(
Hope you like it.
All comment and crits appreciated.
511311733
Published: 3rd October, 2010
Last edited: 3rd October, 2010
Created: 2nd August, 2010
Fresh baked. [Not inspired by Nike®]
Each character is max. 32 grid blocks tall. However, the total height of the fontstruction exceeds that. Couldn't be helped; the curves just make it so. Maybe that disqualifies it from the competition, which is OK, but the design had to take precedence over the rules.
This fs has been in the works for a while and was not specifically begun for the handmadecomp. It started off quite crude...and evolved into the baroque-ness over time. With all the shape possibilities, it may never be 'done' done.
3999711
Published: 25th October, 2009
Last edited: 14th July, 2014
Created: 24th October, 2009
Clone of Mirkwood 1st Iteration. A pixel font with self-symmetry. Limited character set. This is a clone
2882125
Published: 18th September, 2009
Last edited: 18th June, 2021
Created: 15th September, 2009
A modular font destined to be built with Fontstructor. However, it is a remake of my preexisting design with some refinement. It is based on Fundin/Fundin Eco with minor alterations. (Coccinella is the common ladybird with red hardened forewings punctuated by black spots.)
6998316
Published: 29th August, 2009
Last edited: 29th August, 2009
Created: 27th January, 2009
For use at pixel level. Also works at 32pt×x, where x=1,2,4,8,etc. ----- This font has been a long time in the making. The dots are such that the curved shapes and squared-off letters just would not resolve to an equal height no matter what I tried. Then after the mixed x-height that came about in yesterday's la Cross, it occurred to me to just let the letters be as tall as they wanted to be. It seems to work for some odd reason. Can someone please explain why it works?This is a clone
71106016
Published: 25th August, 2009
Last edited: 10th December, 2022
Created: 24th August, 2009
This one started out quite different; a simple three-line font. While making an alternate B, the curlicue was introduced. A clone and many hours later, Etched was born. Later added borders and decorations when the sample called for it. Then cloned the clone and stripped it bare...because DJNippa was going to ask for it, wasn't he!. :-) ----- Works best at 64pt. Set leading to between 48pt and 56pt. No kerning required.
Top borders: [ \ ] Bottom borders: { | } Top border decoration: ~ Bottom border decoration: / Left border: ( Right border: ) Text decoration: _ Text decoration end (ambidextrous): `This is a clone of fs Etched