I joined Fontstruct to get special fonts for greeting cards I made. Over the years I have learned a lot from seeing the incredible variety of fonts created by members who are using just simple bricks, artistic experiments and a lot of patience; when cloning is allowed I can see and understand fine details to help me develop further, increase my confidence and stimulate my imagination.
I love to design and make fonts for family, friends, for special occasions, and to replace some of those more 'usual' basic fonts on my computer :)
Fontstructing since | 15th July, 2011 |
Fontstructions | 299 shared, 21 staff picks |
Shared Glyphs | 39211 |
Downloads | 3502 downloads made of this designer’s work |
Comments Made | 2830 |
Just in time for the "Olympic August", this font is perfect for all sports enthousiasts specially for(followers of) team sports. The font is great for posters and invitations, too. It is ideal for colouring in. Make a blank t-shirt with round neck line by using "[" plus "]".
This is the first font of a "set" which I'll publish on or just before the 1st day of every month, for a year.
This design started out with a blocky look on thick bases to create a kind of joined-up look.
But a glitch on 2 glyphs gave the gap, which I liked upon reflection and recreated on all glyphs. I adjusted spacing and some drops below the baseline.
It is cloneable because I'm sure that my fellow Fontstructors can add great glyphs to make it more useful. The font could do with more symbols, punctuation and some basic diacritics ;)
I've offered this modern rectangular serif font to my class mates and friends when we met to celebrate an important anniversary of our Baccalaureat-Abitur.
There are just a few more symbols and dingbats I want to add but for the moment this is useable for letter heads and that weird stuff the 'High-Flyers' in our class ;) like to produce
Aenvidere (the normal weight version) still needs fine-tuning and kerning. That will come, eventually :) At the moment I'm quite busy doing too many things concurrently.
Check the font description for AlexGar-Aenvidere for details.
At a later date I'll publish a squared-off version of this. Aenvidere SQ will have the same glyph style but will be wider than the other versions which might make it less useful as a "tool" to attract attention when added as splash insert in text that uses another Aenvidere version.
Upgraded version of Aenvidere (which is the original 'normal weight' version) made for one of my grandsons. The glyphs in this version have lines of different thicknesses which seems to make them and any text more interesting to look at, yet it continues to be elegant.
Numerals are taller than other glyphs, I wonder if a larger letter space might 'integrate' them more when used in a line of text?
Kerning has been done where necessary = on very few pairs: T+some LCs and F+some LCs but not yet on T and F with the corresponding diacritics; also done are TJ and LT. The "f" has been moved in the grid, and "f" and "l" have adjusted letter space. I think that the shape of the glyphs (with and without adjusting their positions/letter space) reduces greatly the need for kerning. Having said all that I'll print some text to check and will adjust kerning where necessary ---at a later date.
This is the most advanced version of Aenvidere (due to kerning), the other published versions will be kerned at a later date. I'm showing them nevertheless so that you can compare versions.
This is a clone of AenvidereThicker lines than Aenvidere AGardin. This is quite chunky. Yet it remains rather (good looking and) elegant. Kerning has to be done (check details of this in the font description on Aenvidere AGardin)
This is a clone of Aenvidere StiloBased on Aeolingia Decora this version has the basic Latin UC, Cyrillic UC, numbers plus essential symbols and some diacritics for decoration.
Use it for splash text or logos, it can't be used for long text nor for headlines as it is rather abstract.
The modern Rouble symbol is on the LC "er" = p
This is a clone of Aeolingia DecoraWe used to have sheep and I wanted a sheepy font for a project. The sheep have quite clear letters in smaller size but the sheepy shape is less obvious. This is my first font and I will improve it to get a better shape/outline (thankyou to Fontstruct).
I love the traditional French biscuits made on the French west coast where Loire meets Atlantic.
The biscuits are thin, crunchy, light, not too large, not very sweet, melt on the tongue, and biscuits very like the original can be made/baked quite easily.
The traditional version has a limited range of letters, enough to write the name of town, manufacturer and product. I've been unsuccessful in finding an image of the font which contributed just a few letters to decorate these biscuits.
I spent some time looking at other type of the Victorian/Art Nouveau era until I had collected enough information to help me design the missing letters. I added the French diacritics, naturally. I think my additions look successful and the whole font looks quite Art Neauveau and in the style used originally.
The square brackets [ and ] make a biscuit shape when used 'blank'.
Bon appetit, enjoy your "Biscuit de l'Ouest".
This is a clone of Petit BiscuitInspired by dpla's comment about an animation showing the transformation of a standard font into the shattered look of "Bruch 01". Such animation will be easier to comprehend if the non-Bruch design is reasonably close to the Bruch design; however the transformations won't be spectacular ;)
Although rather 'basic' this design would work well for such a presentation. Sadly I don't have an animation program to show this.
This is a clone of Bruch 01Reverse in the visual context can mean many things. I decided to create letters and mirrored them, attaching them to a spine.The letters looked like filigree jewellery pendants.
I know that the I , T and W don't follow the design rule; I tried to align them on a spine but the result was unsatisfactory.
This is a cloneA while ago I designed the Circe family; it is quite elegant and fine. This new version, based on Circe1, has thicker lines without being bold. This meant changing a few letter shapes and lines. While it can be used with the others I would discourage mixing the normal weight versions with this one due to the structural changes to many letters.
This is a cloneA collection of circles (and ovals), inspired by the circles I saw in p2pnut's composites tool ... several of these circles I found ready-made in other fonts (I apologise,I didn't note down the designer's name so I can't give credits --- I'll try to backtrack though as I don't blindly copy things and hand out as my own work. Most of these circles I made with the bricks available in the fontstructor, for some I made the composites, some I assembled using shapes and composites made by others.
Thank you to everybody who enabled cloneability of their fonts so that I could see in detail how you made those tricky/exciting curves (to either recreate them and the composites under my own steam or to import into this tool kit).
This is a work in progress as I discover more curves made by members; with the new FontStructor we all will have more circular excitement coming...
Clauses bring bags of goodies to you. On LC you find numbers for an advent calendar. The UC Clauses give UC letters. Clauses on numerals look into a different direction and offer numbers 0-9. There are also exclamation and question marks, an opened and closed empty bag, and 5 decorated ones.
Enjoy ... Happy Celebrations to you!
@This is an extended version of Ostara Aria and more elaborate than the "Kerbe" designs. I changed the look of the LC and adjusted some of the UC.
Now the UC lace is better structured and distributed; glyphs A,N,M,U,V,X,Yand their LC, and @,7 and quotation marks have changed shape slightly; missing glyphs on the More Latin set (and the entire ExtendedLatin1 for my family, friends and aquaintances across Europe) needed quite some work due to the ornate sections - I hadn't planned on making this many glyphs, the ornate look was just intended for display UC of English, German and French and not for any other glyphs. Getting diacritics to look good with the decorated UC glyphs was a challenge but I think the ones I've decided to use don't overdo the ornateness nor distract from the glyph's shape.
Due to the new glyphs and diacritics I should have added 1 pixel height to accommodate the decorative lace element more obviously. Instead I changed some shape-rules ever so slightly to have an easier time adding the lace brick.
The LC is now solid black; diacritics have some added lace to integrate better in the design. The LC gives a separate font which might be of interest for headlines, advertising, on signs, cut to sew on fabric etc.
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Note that there are still some adjustments/spacing needed; the kerning isn't finished yet either. I'm publishing this to get constructive comments -- and praise ;)
[youmoor]I plead for an algorythm that allows one strange/incomplete comment or (psychosocial) pinaillage for every 1 or 2 sincere (++explained) praises :D Applicable not every minute of the year you understand, only from GMT 0:001h Mondays to GMT 23:599h Sundays [/yoomoor].
The font's name is Malagache.
Dark Tokken was inspired by Maren Winter's novel about a Tokkenspieler. I know that this design is far from looking like the styles of writing popular at the time when the story was supposed to have happened. I adjusted some lines of this version compared to a previous one, added real LC, numbers and More Latin diacritics :) as I want to print bottle labels with this.
I made the old style sz for the ß, and placed the alternate modern ß on the °.
This is a cloneInspired by a Blackletter font in which I saw Art Deco qualities. The name comes from Norse/Viking mythology. It's great for headlines/titles and works nicely as majuscles for slab sans serif fonts.
No DL for this particular design but the initial font design will be tidied (has Latin & MoreLatin only) and made available before the end of next week.