Slab Serif 300 as a stencil font. Bridges on the UC are vertical, on the LC horizontal. Bridges on numbers, symbols, punctuation are mostly vertical.
This is a clone of Slab Serif 300Ideal for colouring in so it's a great 'tool' for letter work in playgroup and primary school with the added benefit of introducing the idea of serifs which links into historical lettering systems.
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 BiscuitI built this font ignoring all knowledge and experience of brickwork and physics. Yet it stands up to use ;) Work in progress...
This is a clone of Free MasonryUpgraded 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 AenvidereInspired 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 01An "almost sans serif" text font with an alternate g on the § because I couldn't decide which g was nicer. I have made all Latin sets. This replaces one of my computer's sans-serif fonts.
The Santa in the sample is one of the christmas-sy fonts I made.
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 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.
I finally made it: the font based on the few letters that my favourite Biscuit carries.
I wanted such a font to add to my font collection of unusual or art-craft-themed fonts (started when we had our first internet-capable computer in 1999). As I couldn't find this font I looked at Art Nouveau and AArt Deco style fonts, also at furniture and wall papers of that period --- that kind of guided me when working on the 'missing' letters of this font which must have been designed before it could be chosen for the biscuits, and which I neither have found nor do I know its real name.
The UC are on biscuits. The LC are only the letters, on the level they have on the biscuits to enable a kind of 'Majuscle' arrangement for texts.
Diacritics of more Latin are done, also useful symbols and punctuation. A crumb-free "+" is on the "%", a biscuit with surface dips is on the "(" and one with a flat surface is on the ")". The square brackets, when used without a space or letters, will make into a narrower biscuit, and are also used like round brackets.
Thicker 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 StiloDecorated cups on UC (blanks: left-handed cup on L, right-handed cup on R, bowl on O). LC letters are from my "unstraight" font. To make twin-handled UC and LC cups: type left bracket followed by the chosen UC or LC cup. A blank twin-handled cup is on "." Numbers are on Japanese style tea bowls :)
This started elegantly thin with rounded corners and the name 'memoire', but it developed some electric sharpness through parallel angled lines ;) demanding that I remove curved corners. Work in progress, one of these days I'll add Polish or very basic Greek glyphs .
A bit of artistic flying ;) This design would have benefitted from the original 8x8 composite possibility but 5x5 or 4x6 would have worked, too. Done as far as I need it for normal communication in modern English.