9710988
Published: 15th August, 2009
Last edited: 23rd November, 2009
Created: 15th August, 2009
This started out as a 'why not'. When it showed potential, I added more glyphs to round out the character set.
— Alt. t at { for words beginning with it.
— ll (double l) lig. at } for a nicer fit.This is a clone of fs Fontsration
221115614
Published: 31st January, 2014
Last edited: 4th February, 2014
Created: 30th January, 2014
Somehow the idea for the T popped in my head. Next, I tried to imagine if the same overly bold and fragmented T can be translated to something like an A or S. Therefore, this was just an exercise in trying to fit the basic idea into all characters. Surprisingly, the whole thing came together within minutes. The rest of the time was spent in refinement.
8055411
Published: 1st October, 2013
Last edited: 2nd October, 2013
Created: 20th September, 2013
fsHalf is a somewhat monospaced font -created using fontstruct.
A sequence of any two characters forms a perfect square, except m or w, which are squares already.
160543
Published: 30th April, 2024
Last edited: 2nd October, 2013
Created: 21st September, 2013
fsHalf is a somewhat monospaced font -created using fontstruct.
A sequence of any two characters forms a perfect square, except m or w, which are squares already.
886276843
Published: 21st December, 2008
Last edited: 8th June, 2009
Created: 21st December, 2008
The new spacing controls have added complications in this font. Set tracking to -64 to get the characters to join up.
15398649
Published: 1st February, 2010
Last edited: 22nd December, 2010
Created: 31st January, 2010
Inspired by a picture found on this website.
Another diagonal line font so soon after fs Overlap. A mere coincidence. The application of each is very different. Overlap is about negative space while I-Tilic is about patterns and meta shapes. Post samples if you end-up playing with this fontstruction. Have fun.
[ = fi ligature ] = ti ligature < = background fill (negative) > = background fill (positive) ` = reverse tile (above base line) ~ = reverse tile (full height) { = top border } = bottom border | = side border
4349112
Published: 23rd March, 2014
Last edited: 26th March, 2014
Created: 19th March, 2014
Firsts of the Inline Construction KitThis is a clone of fs ICK - Blank
97167517
Published: 11th December, 2011
Last edited: 7th August, 2013
Created: 9th December, 2011
This fontstruction was started because I suddenly got fascinated by triangles in Emigre's Matrix font. The triangles got lost somewhere along the development...leaving this hodgepodge of serifs. Look closely, almost all the serifs are different. The question is, which works the best? That's where you come in. Help me decide how to proceed.
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.