1271420039
Published: 3rd October, 2009
Last edited: 3rd October, 2009
Created: 25th January, 2009
Cleaning out the queue. I can't believe this one has been sitting in here for *gulp* eight months! I figure if I don't kick it out now, then it will sit here sequestered for another eight.
The title is inspired by my struggles to space this one properly.
A work in progress. Taking any and all feedback - especially for spacing.
Works best at specific sizes. Enjoy.This is a clone
144126725
Published: 22nd July, 2009
Last edited: 13th July, 2009
Created: 11th July, 2009
This is a clone/remix of Micromoog. This font should ONLY be used to set the titles for a bad Michael Bay movie where the plot features an alien breed of energy drink swillin' robots that fight against extreme sport celebrities in an attempt to rid the earth of BMX bikes, skateboards, all neon colors & fun.
Lowercase carries a full set of X-TREME alternates. This is a clone of Micromoog
418116630
Published: 18th November, 2008
Last edited: 4th December, 2009
Created: 18th November, 2008
A mash-up of sorts. Microgramma meets Dr. Robert Moog.
20359811
Published: 28th October, 2008
Last edited: 19th November, 2008
Created: 28th October, 2008
This Fontstruction was produced after plugging in the Atari 2600 the other night and falling in love all over again with the minimalist simplicity of the game Breakout.
A little Jobs/Wozniak drama from the development story of the game Breakout:
"Breakout, a discrete logic (non-microprocessor) game, was conceptualized by Nolan Bushnell and Steve Bristow, after the latter had "rejoined" Atari after the merge of Atari subsidiary Kee Games.
"Al Alcorn was assigned as the project manager, and began development with Cyan Engineering in 1975. The same year, Alcorn assigned Steve Jobs to design a prototype. Jobs was offered USD$750, with an extra $100 each time a chip was eliminated from the prospected design. Jobs promised to complete a prototype within four days. Jobs noticed his friend Steve Wozniak—employee of Hewlett-Packard—was capable of producing designs with a small number of chips, and invited him to work on the hardware design with the prospect of splitting the $750 wage.
"The original deadline was met after Wozniak didn't sleep for four days straight. In the end 50 chips were removed from Jobs' original design. This equated to a $5000 USD bonus, which Jobs kept secret from Wozniak, instead only paying him $375."
3080155346
Published: 29th September, 2008
Last edited: 22nd June, 2009
Created: 3rd August, 2008 The Slurpee Font - Created and fueled by an unhealthy summer obsession with the world's greatest beverage you can drink/eat with a straw. A little interweb research gave some hints at a few more glyphs than the initial six glyphs in the 'Slurpee' logo. In some cases, like with the 'c' glyph, I noticed that it had been drawn differently in different usage. See here and here.
Being that the current Slurpee logo is Unicase, I decided to try and make uppercase and lowercase alternatives that can be mixed and matched for the unicase feel.
See also Chank Diesel's wonderful font Cosmic, which draws from the old school Slurpee branding.
P.S. The Monster Black Ice flavor that came out this summer was ridiculously awesome.
486737
Published: 23rd September, 2008
Last edited: 7th February, 2009
Created: 23rd September, 2008
Lithe is my attempt to build something modular with a hint of flair.
222101618
Published: 16th September, 2008
Last edited: 16th December, 2008
Created: 14th September, 2008
The Chesterfield Royal Family was formed from my desire to add new weights to the original Chesterfield typeface. In the process of drawing these new weights, I began modifying some of the forms of the new glyphs away from the original Chesterfield glyphs in order to build a more flexible brick/grid structure for the development of various weights. The most noticeable difference between these three new faces and the original is the lowered x-height. That said, there are still some compromises between the different weights and because of that I've given them these royalty names instead of the normal practice of light, regular, and bold weight names. One of the biggest compromises occurs in the Prince weight, where I was unable to add the notch where bowls and shoulders meet stems (see King and Queen weights) without adding too much extra black weight to those parts of the glyph.
A work in progress for sure. Any help/thoughts/repulsions/bile appreciated.
16119814
Published: 16th September, 2008
Last edited: 3rd November, 2008
Created: 14th September, 2008
The Chesterfield Royal Family was formed from my desire to add new weights to the original Chesterfield typeface. In the process of drawing these new weights, I began modifying some of the forms of the new glyphs away from the original Chesterfield glyphs in order to build a more flexible brick/grid structure for the development of various weights. The most noticeable difference between these three new faces and the original is the lowered x-height. That said, there are still some compromises between the different weights and because of that I've given them these royalty names instead of the normal practice of light, regular, and bold weight names. One of the biggest compromises occurs in the Prince weight, where I was unable to add the notch where bowls and shoulders meet stems (see King and Queen weights) without adding too much extra black weight to those parts of the glyph.
A work in progress for sure. Any help/thoughts/repulsions/bile appreciated.
1371988
Published: 16th September, 2008
Last edited: 3rd October, 2009
Created: 14th September, 2008
The Chesterfield Royal Family was formed from my desire to add new weights to the original Chesterfield typeface. In the process of drawing these new weights, I began modifying some of the forms of the new glyphs away from the original Chesterfield glyphs in order to build a more flexible brick/grid structure for the development of various weights. The most noticeable difference between these three new faces and the original is the lowered x-height. That said, there are still some compromises between the different weights and because of that I've given them these royalty names instead of the normal practice of light, regular, and bold weight names. One of the biggest compromises occurs in the Prince weight, where I was unable to add the notch where bowls and shoulders meet stems (see King and Queen weights) without adding too much extra black weight to those parts of the glyph.
A work in progress for sure. Any help/thoughts/repulsions/bile appreciated.
17712614
Published: 11th September, 2008
Last edited: 3rd November, 2008
Created: 11th September, 2008
Clone of Eclat Weave.This is a clone of Eclat Weave
14412612
Published: 11th September, 2008
Last edited: 3rd November, 2008
Created: 11th September, 2008
Clone of Eclat Weave Rounded White.This is a clone of Eclat Weave Rounded White
30672625
Published: 8th September, 2008
Last edited: 22nd June, 2009
Created: 8th September, 2008
Just a fun one I did last night while watching tennis and reading the latest DWR catalog (see page 72). This is a pattern Fontstruction based entirely on the Anni Albers textile pattern of the same name.
"Anni Albers began a three decades long collaboration with the internationally recognized design company Knoll in 1951. During the course of this partnership, Knoll released five of Anni's designs: Track, Rail, Lattice, Jhet and Eclat. Originally designed in 1974 as an upholstery pattern, Anni Albers' Eclat, was first produced printed on a cotton/ linen ground in various scales and color combinations. Reintroduction into the market as part of Knoll's 60th anniversary archival collection celebration in June 2007, Eclat, renamed Eclat Weave, is now produced as a woven, rather than printed, upholstery."
631199878
Published: 4th September, 2008
Last edited: 24th June, 2009
Created: 4th September, 2008
Good evening and welcome to the Steeplechase, Fonstruct's premier jazz club. Be-bop on over to the bar and order your favorite libation. The show is about to start.
5751617547
Published: 13th August, 2008
Last edited: 22nd June, 2009
Created: 11th August, 2008
jet-ti-son
-verb
1. to cast (goods) overboard in order to lighten a vessel or aircraft or to improve its stability in an emergency.
2. to throw off (something) as an obstacle or burden; discard.
-noun
1. the act of casting goods from a vessel or aircraft to lighten or stabilize it.
582974
Published: 5th August, 2008
Last edited: 16th June, 2009
Created: 13th July, 2008
The stars align and pile up to create this font. Perfect for when you want to serrate celebrities, denticulate dignitaries, or simply eviscerate the competition.
The star terminal is the new ball terminal.
20346210
Published: 1st July, 2008
Last edited: 22nd June, 2009
Created: 1st July, 2008
Inspired by the saccharine sounds of the ice cream truck, which has been making the late evening loop around these parts. Upper and lowercase letters enjoy getting all mixed up with one other like a melting Neapolitan ice cream bar. Enjoy.This is a clone of Pop Blox
412523
Published: 30th June, 2008
Last edited: 22nd March, 2009
Created: 30th June, 2008
Pop and lock. Uppercase and lowercase letters enjoy playing nice with one another. Like loose couples at a swingers club, let them run amuck and get dirty.
19641084
Published: 24th June, 2008
Last edited: 3rd November, 2008
Created: 24th June, 2008
More gangster than Gill with more gold than Garamond, Summer Grillz is type jewelry for your mouth. All letterforms are diamond-kut using the finest type constructing software on the market today.
Customize your grill with different fills. For extra bling and total street-hustle krunk, layer the star fill on top of the base pave set. Color that s#it gold, son.
Put your type where your mouth is.
Note: kerning subject to da gaps yo teef.