Dies ist mein erstes Fontstruct Konto. Interessant, ich war schon kurz nach Fontstructs Veröffentlichung hier. Hatte andere kreative Arbeiten gemacht und meine Fontstruct Infos in einem unserer alten Rechner 'verloren'. N8 macht leicht 'experimentelle, schräge' Glyphen; eventuell auch von FS Mitgliedern zum erweitern kopierte. Mein normales Pseudonym zeigt eher "dekoratv Lesbares" das auch auf meiner Arbeitsstelle brauchbar wäre.
Da jeder Name eine spezifische Präsenz hat wird N8 weniger oft im LiveFeed zu lesen sein.
Wie immer:*in memoriam Prof. L.Kampmann*
Und auch mit Dank an Prof. P. Baines
Fontstructing since | 2nd July, 2008 |
Fontstructions | 30 shared, 5 staff picks |
Shared Glyphs | 3609 |
Downloads | 131 downloads made of this designer’s work |
Comments Made | 313 |
This font gives the UC on the first 3 Latin bands ... a few alternate UC letters are on corresponding points on the LC, for each of these Latin bands.
The 'ß' is on the correct LC point as German typewriters and keyboards still offer that one and not the UC version.
This is a clone of Ymdraes8Inspired by a gift box containing a wrapped box which held a gift-wrapped envelope offering an origami tulip hiding a butterfly pendant ...
UC letters only -- but a few UC alternates are on their LC positions, as is the LC "ß"
Made for DE & EN
An extended version and some pleasant additional altenates to UC are on their respective LC positions.
This is a cloneSieht brauchbar aus. Alternative 3 auf "§" , alternative 4 auf "µ". Overview Sampler shows some of the basic glyphs and just one or two (but not all of the) more special 'number glyphs' I've added. The Display Sampler shows the visual impression of the font in a text situation.
Tylluan (Welsh) = owl (English)
Having looked at this font to add glyphs for a friend's language I decided to change some of the original glyphs, for the fun of change ;) ....... if you saw, remember and now hope to download the original basic English version: sorry, it's out of circulation unless I decide to remove the asked-for glyphs/shapes in this version so that you can DL the new basic Enlish version with support for my language and some fun dingbats. This particular upgraded version of Tylluan won't be downloadable unless the 'owner' of it allows me to offer it to FS members .
I changed some curves, improved the e-mail symbol, added curved blocks and glyphs for some European languages including Welsh (( RAY if you want to use this DO let me know here via PM !!!)) You'll also see the Eiron := aka. interrobang (en), exclarrogatif (fr), Fragerrufzeichen (de) and some asked-for dingbats
This is a cloneCloned from Aidenfont's "Amogphabet" who seemed to have been inspired by the shapes of "Amogus"; I kept Aidanfont's name for my extended clone and added the "_A_" at the end (to indicate that this is the 1st extended clone of "Amogphabet" should other Fonstructors wish to extend further).
The original "s" is on LC, a different "S" is on the UC.
In this clone I adjusted word and letter spacing, added numerals, a few useful punctuation marks (even on 'More Latin'), all 'more Latin' letters and some on Latin1.
Creating the @ seemed an ideal project, the basic shape of the "A" invites the change. I designed 3 different versions of "@" but didn't find a shape that would flow with surrounding glyphs.
This is a clone of AmogphabetThank you Ryan for this font, you've found some great solutions for several glyphs which are 'tricky' due to the compact style you've chosen.
Changes made are : Nudging and stacking became necessary. Added /:|;\=]}£€~{[ Added glyphs (incl LC and UC "ß" , also the specific national quotation marks ) for people in German and French speaking countries and in those countries where German and/or French is a co-national or region-based language.
This is a clone of Vibrational TriUC roofs slanting down from the left, LC roofs slanting down from the right. To have pointed roofs on words use 1 UC followed by 1 LC ; if you want words covered by a 'typical' factory roof-look of the industrial past use only UC or LC.
Numbers, symbols and puctuation buildings are shorter and their roofs slant in both directions from the center; their lower roof corners join any other lower roof corner.
Word space is just that, if you want some decorative item to show gaps or word space use some of the designs shown on symbols, or use the underscore moon. The hanging lamps and sign scrolls are designed to fit on the taller sides of a letter unit.
This is a cloneStarted to work frustration with window fitters off my chest. Finished after a year of ignoring it, with a deep sigh and a cup of Lapsang... I wish the windows were as interesting-looking as this font.
I know the kerning is waiting, it'll be done sometime in the future when my eyes have recovered from the weird "Op-Art" effect.
I just wanted to know if you find this unusual enough to be classed as one of mine :)))
upper case font. Lower case c, e, g, h, j, k, o, q, s, y, z are alternates to their UPs. Alternate larger @ is on w ; an alternate "3" is on $. Unfinished font: kerning is incomplete but German is done also giving the ß, with alternates on corresponding LC . I'm publishing it to motivate myself, the parent font of this has been hanging about for a while and I hope that getting input rearding the general glyph shapes will encourage me to revisit the parent font
This is a cloneI found the original Spheretta-5,7 while looking for "dotty" fonts, to make sure that the font I'm doodling at the moment will look a little different from others on FontStruct. I liked Spheretta and as cloning was allowed by the creator I made some changes as Meek's many innovations enrich our creative thinking **smile** The original font was created in 2011 by arseniiv.
I smoothed the circle, worked into existing glyphs where I thought 'necessary' (nudges, ~re~moved some dots in glyphs or added dots to reduce some gaps).
Comparing parent and clone: changes are a smoother circle, a few symbols, the Lower Case for Basic Latin and most Latin1 positions, some operators/symbols are available with as well as without the UC circle. And that I have broken the 5x7 rule in some glyphs to improve their lines.
In the LC glyph style (no circle) you have: full stop, comma, all quotation marks on Basic Latin and Latin1, apostrophe, asterisk, plus, minus, solidus, colon, semicolon, percentage, less, more.
The low line is a blank circle; decorative dot arrangements inside a circle are on the tilde, left square bracket, grave accent.
The original (with a circle) can be found here: the "?" is on "{", the "!" on "}", the "-" on "reverse solidus, the "=" on "]"
I've added arseniiv's name and this parent-Fontstruction's year of creation on the first letter of the ""Even More Latin"" band, then added mine on the second letter on the same band. Feel free to add more glyphs (and your name and creation year, following ours), arseniiv allowed cloning so that we can add to his work. I follow his idea; and like him I, too, can't find enough time to continue working on Spheretta-5,7 for the next months. It would be great to see Spheretta-5,7 grow some more ...
This is a cloneI based this font on the unusual lines of letters n, r and k I see on my mum's document folder, since I was old enough to be shown.
In the war my mum was a secretary in hospitals. When she was 21 she made friends with a Hungarian doctor there who helped her deal with the many terrors she saw daily, things most people never realised existed. He helped her survive and became her mentor and protector. He made her a beautiful folder for her documents and letters, from cardboard, kraft paper, inks and obsolete x-ray supports.
He decorated the folder with traditional designs - on the front of this folder he wrote Emlék ................... My mum used the folder until she died, just recently. My parents named me in honor of this man.
This font is in memory of my mother and also of her protective angel whose name I heard too rarely to remember, and sadly my parents never managed to trace him after the war.
Alternate g=\, alternate k={, alternate m=I, alternate z=}, alternate UC ß=#
Beeinflusst von Kem Weber (1889-1963)
A-Z on capital letters, alternate Q, S, X, and Z on their lower case positions.
I no longer publish samplers to illustrate my fonts as my samplers aren't wanted. It's nice that Meek publishes them for me; for competitions it seems important that members are made aware of contributions and I appreciate visually contributing and being part of the working community effort.
But I can't justify having to bother him with requests to publish my samplers that I designed only because I made a new weird font for my own reasons, hoping to get some (helpful) comments to point me towards improvements, additions etc.
Had an idea about a very basic design, breaking expected lines but in a way that makes sense without getting predictable at first sight, and adding varying widths to look interesting rather than strictly measured and correct. Feel free to add more punctuation, more symbols, more language support.
This is finished as far as I see useful for this competition. Based on Spheretta 5.7 by arseniiv from 2011 which I cloned quite a while ago as the uneven spacing-positioning of the dots on the ring could be improved with new fontstructor's features. I sent him a message about my clone but assume he hasn' frequented FS for a while, so he doesn't know about how I developed his idea and won't see that I've used part of his design in my "future comp" submission.
Based on the Covid-19 situation I know of in north western Europe: CONFINED illustrates the limits this virus imposes on people.
Nightpegasus' creative activities have been curbed for some time; with addition of this virus scare comes lack of interactions with my small support group and my creative output is even more reduced. As far as my FontStructed fonts are concerned this has imprisoned my enthousiasm and attacked my confidence in my abilities ...
Note that this font still has more glyphs to come. One of these days, possibly in April but more likely during the summer break.
I have worked on aspects of this design for a while and transferred the best glyphs to make **Confined**, expressing my thoughts and feelings in this font. But I can't see yet how to get the many missing glyphs to match this style.
This was meant to create a seamlessly striped background carrying letters, but user input and standard text on font's home page show quite a distance between lines; in fontructor preview letter-blocks sit seamlessly on top of each other to create interesting high rise blocks-of-letters.
Start text with 1 "space"!
The current month seems to hold a meaning of threads: of fog, dew covered spiders' webs, barely-there things, feint perceptions defying scientific understanding and fine links with ancestors, to keep us in the present and enable open minds and caring souls to better the future. This abstract interpretation of Halloween has been designed to echo the traditionally mysterious mood to show the past (known glyphs, earlier FS bricks) linked in the present (on paper, in the FS previews, and using some of Meek's newest bricks I experiment with in this design) to create future (text will carry meaning to the reader, diversity of thought not experienced until after every glyph is finished, and beauty of text flow is visible only after it has been written). Totally within my personal plan for Night Pegasus' work: adventurous, alternative, divergent, different, exploring, experimental, unusual -- after all, the flying horse is free to visit any time any item or existence in this universe and any place in Fontstruct, to discover and weigh possibilities, to create its future from the past in it's present body and mind, and it does this cloaked in black as deepest night, undiscovered unless someone has their feelers tuned into mystery and taps into experiences of presence.
:.:.:.: Information to help you when using this font :.:.:.:
If a LC glyph follows a UC glyph: you need to use the space bar 6X to get the correct letter space (it will then match the natural spacing between LC); using only LC glyphs (or only UC glyphs) will give satisfactory text results as letter space is set by the programming. But you'll need to manually add the word space you want: between UC (or LC) words a minimum of 3 space taps for a just visible gap, use the space bar 6x for good spacing. Experiment!
Note: the full stop and comma have a line on the baseline to link with UC. There might be no need for a 'space' after those two marks even on LC? The apostrophy has a short line to link it to previous/following UC glyphs (note those link lines retain the meaning of the glyph when used with LC glyphs or an LC following an UC glyph).
SPACE BAR = a 1px space; tap 3x to get a small word space that's obvious
% key = a set of reasonably wide lines to match upper case verticals
_underscore = a space consisting of a long single line on base line only
I'm trying to figure out some diacritics before the 31st so this remains WIP
Another example of glyphs acting as the counter in a space, and this space filling the usual "glyph's white space" in the way the counters were described for the competition.
This is based on a beautiful copper-wood-stained glass door of an Art Nouveau building, letters Q, O and Y were the first ones to echo the door's design. The other glyphs needed more thinking about and experimentig to maintain the style.
I still have to make diacritics used in my favourite languages. The LC will be like the UC because it makes typing easier. I'll work on it in December to get it finished for greeting cards. For the moment this stays All Rights Reserved.
Made for fun, I wanted glyphs with the look of 'construction' to write a name on a gift tag. Even though it looks simple like a child's work it required 25 minutes and several half-saves plus time to restart the computer after an annoying browser crash. This design will end up in my collection of pixel brick work.
This had the look of the original reverse-comp entry. Then the save ignored me, as you can see. Another of my basic fonts died in silence.
My second font of this day. More elaborate and less decorative, but useful for invitations that look like printed with a strange dot matrix printer. So far I've enjoyed using Fontstruct and I'm sure I'll continue this unusual a creative work to make something useful and attractive for everybody who likes to have a choice of fonts on their computer.
This design looks chunky and earthy, as if poked into damp soil with the end of a broken branch.
*Just waving to my friends whose carefully managed wild garden allowed peaceful walks and discovery of nature and self, followed by great food, long discussions and fabulous music* This font was inspired by what I saw in your gardens you worked hard to make look as-wild-as-nature-grows-without-human-interference. I'll add necessary glyphs with diacritics should my friends and families ask for them.