19515319
Published: 2nd May, 2024
Last edited: 19th June, 2009
Created: 23rd November, 2008
Clone of xtrude by garphynk. Features shorter shadows, some modified letters (especially the N, Q, and y), and a period. Enjoy!This is a clone of xtrude
1091332725
Published: 2nd May, 2024
Last edited: 9th October, 2009
Created: 30th July, 2009
The ultra light sister of Exempla Sans Medium... Sharp eyes will see that it's not the exact sister yet; I modified some details here that I didn't like and will also modifiy them in Exempla Sans Medium soon to make the family genetically homogeneous.
Hope you like it... Definitely one of my most useful fontstructions. And I got dangerously close to the brink of madness when I had to do every circumflex and every caron of the extended latin set with brickstacking... ;)This is a clone of Exempla Sans Medium
2902117081
Published: 2nd May, 2024
Last edited: 9th September, 2009
Created: 8th September, 2009 Hunstruct's taller cousin.This is a clone of Hunstruct
1852433
Published: 2nd April, 2008
Last edited: 8th April, 2008
Created: 2nd April, 2008
Another font based on Crouwel's New Alphabet. Letterforms have been modified in an attempt to make it more legible however. Based on a 5x5 grid with ascenders and descenders. http://pixelspread.comThis is a clone of New Alphabet
483129410
Published: 3rd April, 2008
Last edited: 21st April, 2010
Created: 3rd April, 2008
This one began as a few doodles in my sketchbook. I've adapted them to FontStruct. It's an all-caps typeface, but A, K, V, W, X, and Z have alternate glyphs in the lowercase keys.
UPDATE: I've tried adding punctuation, but the double lines tend to make things tricky in this regard! Still working on it.This is a clone
1121316529
Published: 9th July, 2009
Last edited: 4th October, 2009
Created: 2nd July, 2009
Update: I've remodelled this one completely on a 1x1 filter, with some minor changes on basic latin, redesigned diacritics and extended character set for most roman languages.
21229765219
Published: 22nd July, 2009
Last edited: 11th June, 2013
Created: 20th July, 2009
Well, apparently everybody here likes building letters... And I'm sure everybody got told at least once to finally shut down that damn computer while fontstructing.
Here's how you can go on tinkering fonts even with the computer unplugged!;)
I had carried this idea around with me a long time ago, doing some sketches, but abandoning it cause I thought all the thin and dotted lines would go beyond fontstruct's possibilities. Until funk_king proved me wrong... Thanks for the re-inspiration!
I think this is pretty self-explaining. Cut along the solid lines, fold along the dotted lines and put some glue on the shaded parts, put it all together, and there you go with your new toys!
Unfortunately it was impossible to fill all the inner sides of all the counters, but I tried to leave them open where you'd see it least. There might also be some bugs, I haven't tried them out yet. Pure brainwork so far... (My brain's still in the freezer to cool down a bit) In case someone ever actually uses them and finds something wrong, please let me know!
Hope you like it!:)
Check out the fill font if you wanna print your own custom-made design on the letters!
31675444325
Published: 4th August, 2009
Last edited: 1st August, 2009
Created: 27th July, 2009
The letters can easily be made more legible. But it gets to be FUN & a-MAZE-d. Every letter/word has a solution. 4 types of spaces: space bar, @, #, %. Try it.
91147220
Published: 31st August, 2009
Last edited: 31st August, 2009
Created: 31st July, 2009
Definitely turned out weirder than expected, but well... Sometimes you just can't control your creations.;)
And yes, this definitely needs some refinements. Especially the name.:D Any suggestions?
48327214165
Published: 17th October, 2009
Last edited: 1st April, 2012
Created: 16th October, 2009
An attempt at creating a set based upon each glyph being set in a square (with obvious exceptions such as i, f, 1 etc).
The 'Squarial' was the nickname for an old British motorbike - 'The Arial Square Four'
58106125
Published: 5th April, 2010
Last edited: 5th April, 2010
Created: 20th November, 2009
This feels very bad; it's the first time I'm betraying my oath never to use the grid to feign bezier curves, and one of the few times I betray my principle only to publish complete character sets. At least there is a chance to make amends on the second treason, but this font still deserves it's name: Tradita. (Italian for betrayed)
Alternative a and z on the lowercase. I'll probably add more characters soon enough, but it's unlikely to get an uppercase set.
842213030
Published: 7th April, 2010
Last edited: 16th April, 2010
Created: 2nd February, 2010
***WIP***Very Experimental***
Please be aware that none of the letters are representative of any type of folded material what so ever, and have no intention to be treated as such.
But it’s a cool name…right!?This is a clone
182197679
Published: 29th May, 2010
Last edited: 13th June, 2010
Created: 28th May, 2010
This is my first humble attempt at something blackletterish. It's the third clone of the initial starting point which was based on another blackletter attempt I did some time ago... Seems like I'm not much of a blackletter natural.:) I'm not completely happy with this one neither, but just pumping it out because i don't currently find any motivation or creativity to improve it.
Any suggestions for improvement are welcome! Especially for the T, that one gives me the creeps... And yes, I know kerning can get quite messy and is best done by hand.
More and/or higher resolution samples on my blog!This is a clone
38112624
Published: 4th June, 2010
Last edited: 6th June, 2010
Created: 4th June, 2010
This is a quick tutorial to demonstrate how to create the new angles allowed by FS 2.0.
A = 1:3
B = 1:4
C = 1:6
D = 1:8
E = 2:3
To create the angles, you have to use the new composite feature. Each letter shows the bricks at the top needed to create the angle piece beneath it. Except for the 2:3, the two middle columns make the angle pieces necessary for the middle part of the 2:3.
I will post some screenshots and better explanations tomorrow.
I added single dots to the other caps to make sure this font showed up for everyone...I couldn't remember what the minimum number of characters is.
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.
5877915
Published: 19th October, 2010
Last edited: 22nd October, 2010
Created: 24th September, 2010
Many fellow designers have tried executing this idea. This is my crack on the solution.
All letters are comprised of uniform-sized right-angled isosceles triangles.
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.
7135616
Published: 7th November, 2011
Last edited: 16th November, 2011
Created: 24th October, 2011
hello my name is gemma coates. I created This font while in my first year at uwe studying graphic design. we were given a list of words to choose from to design a font around. I chose chaos. I started to look at riots, war and things are chaotic while they are happening. then started to think about the after effect of chaos and decided to based my font on the aftermath of a natural disaster and how thing become disordered and in the wrong place.