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ETC Vieux Canard is whimsical, geometric sans-serif font based on V. Sarela's "Res Cogitans" and Christian Munk's "Insular Typewriter".
Some letters are oddly kerned, but that is due to FontStruct's +/- 10 unit limit on kerning.
The font is in progress
feel free to suggest anything
Update: added some more kerning and 4 more characters
9/12/2023 Update: added one more character and altered "B","8","3"
10/13/2023 Update: Altered the diearesis, period, comma, S and $. Added some more characters
The bold version of Pixel Geometric.
This is a clone of Pixel GeometricVOLLE BUISJES — Geometric sans-serif style
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[ INTRODUCTION ]
This font had derived and materialized from my previous FontStruction called Buisjes, and had innitially been planned to be made into this “solid”-style instance that would've then were to be combined and included to the original master font. That idea was later canceled when I decided not to make this part of the “Buisjes”-typeface.
I still went on completed it though, but I was now simply treating it as this unrelated new font instead.
The original “outlined”-variant still stood testimony in this second stage of development, as it served as the global basic backbone for this. But, since it now no longer was bound by accurate representation I could start utilize more dynamic sculpting techniques and make minute adjustments that incnclude some optical corrections, as well as implementing a slight more polished looking geometry.
[ TECHNICAL BACKGROUND ]
I took a clone from “Buisjes” and started modifing it into this new solid style. What I basically did was utilizing the “brick swap”-method in the FS-editor to replace every brick inside the font's “My Bricks”-palette. By doing so, essentially converting the font one-brick-at-a-time into this 1 : 1 conversion of its source without making any additional changes to the actual glyph-contours.
After a while due to some undesirable result that came from replacing the original bricks the design took a different turn when I started realizing that making an exact 1 : 1 conversion into this solid style wouldn't generate the most desirable looking font. This new solid version that was rendered from the “brick swap”-process seemed to have several optical complications, that when compared to the original outline version, had quite the different effect on its physical properties as well as the aesthetic quality of the letterforms, and had far less visual appeal. These newly presented optical misfortune also had a direct negative effect on the font's legibility. In oder to gain a better understanding as to why it took a toll on legibility some additional thing needs to be explained first, to make sense of it all later. This explains in short the visual effect of added contrast that comes from that “bi-linear”-characteristic nature of the outline version, which employs so much more emphasis to the font's overall geometric properties of various form, and therefor to the contour shape of a glyph. In return this has a direct impact on the overall effectiveness of these forms.
The reduction of this additional contrast within the font's “positive vs. negative”-whitespace balance for the solid version results in a letterform that has a rather weak representation of its several typographic components as well as for each of the individual letter-parts that form a whole, which also help to distinguish one letter from another. In simple words this means that a solid style lacks a lot of that emphasis that is present in the the original outline version, and makes for a far less pleasant and effective font.
Another issue I had with the 1 : 1 identical conversion was the unanticipated but pretty drastic deterioration of its initial “wow”-factor in the solid version that was generated. No longer beneficiary from additional added value that came with a more “decorative”-characteristic that is present within a outlined glyph contour. Also the “bi-linear”-nature of the outlined letters sort of gave the impression it was putting double the emphasis to the typographic parts and the geometric properties that make up each letterform. The rather squarish “box”-like characteristics of the lettering became much more evident in the solid glyph face. Shifting visual focus from the previously more ornate display attraction away towards this more “mechanical”-style that is this rather plain and somewhat shallow looking flat faced letter.
All of these were things that worked out just fine in the font's outlined version, but not so much in terms of a solid “filled”-like style.
Here are some of the things that cause trouble within an exact 1 : 1 conversion into solid bricks:
• Enclosed typographic elements render much thicker than what is considered “acceptable”
(requires optical correction)
• Diacritics render too thick and often too big
(requires a complete re-design)
• Radius of FontStruct's default solid circle arc connection brick is too small
‣ Making a solid font constructed from these to look compressed
‣ Arc intersection point not sitting deep enough
• Reduced emphasis in depth of geometric form
‣ Simple rather “feature-less” and “squarish”-looking geometry
(both requires numerous custom composite bricks in order to break-away from these constraints)
— The combination of the above in terms of the appropriate adjustments required to make optical corrections in order for it to have balanced proportions will have such significant impact to certain aspects of the physical presentation of the letterforms that they no longer share that seamless overlapping cohesion, and it couldn't really classify any longer as being this solid / filled style instance to the original master font.
That wasn't all (LOL) but yeah I'm done typing for now!
Hope you like it, more info follows..
Cheers
This is a clone of STF_BUISJESThe design of the KVN-Westgate typeface originated from the concrete lettering on the gates surrounding Ben Thanh Market in Ho Chi Minh City, Vietnam. These gates were constructed when the market underwent renovation in the mid-1900s. Having endured for decades, the lettering on the gates represents both the history of the market and the growth of the city, formerly known as Saigon.
Inspiration: https://republi.sh/#westgate
<COMPLETED - NEED SUGGESTIONS & IMPROVEMENTS>
Base height: 8 pixel
X-height: 5 pixel
Descender: 2 pixel
BUISJES — Geometric outlined sans-serif design
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[ INTRODUCTION ]
While at first I was just updating one of my custom brick tool sets with some additional new pre-build custom composite bricks which seemlessly fit and allign with the dimensions of FontStruct's default connection brick set, the font more or less materialized as this happy accident while I was fooling around and constructed several basic letterforms and shapes for testing these composite brick solutions I was making.
Before realizing it I had about half-a-alphabet's worth of random letter doodles. From there on out I simply decided to copy the letters that came from this test run and drop them into a new FontStruct project and just resumed building the remainder of what would later become this rather modernist clean looking geometric outline sans.
Now, keep in mind that working with the constraints of these (largely 'Composite'-like) and somewhat oddball physically natured 'Connection'-bricks is very limited, and can be quite tricky. They simply doesn't allow the same level of design freedom FS's 'Core'-bricks do (E.g. the centre allignement, their thickness and that 30-bricks-only limited palette size for each of the three variations). To acquire some of that more distinctive and specific tailor made geometry usually requires clever brick arrangements that consist from a mixture of both multi-stacked-composites and brick overlaps to patch gaps and smoothen curve contours.
This process can sometimes become very 'trial / error' -based and unpredictable when complexity increases. Distracting at times, as it gets in the way of primary objectives. To constantly having to invent different new solutions that work simply doesn't help creative workflow. Therefor I decided to dive a little deeper into expanding my pre-fabricated'ready-to-use' composite brick palette.
[ ANALYTICS ]
So far I'm very pleased with the final result, especially with how easy this new set of custom brick composites turn out to create new letters. The bricks feel very intuitive to work with, and unlock quick access to greater sophistication and shaping of more complex geometry. Opening up several new possibilities that are impossible to construct solely from the default 'Connection' -brick palette. So having them at my disposal in a pre-fab fashion is certainly gonna help streamline the workflow.
[ THE FONT ]
As far as for the font's aesthetica, there isn't all that much spectacular going on really. The basic geometry provides a rigid solid looking lettering that produces this fairly legible text. The modern yet clean characteristics making it the perfect match for a broad range application.
• Multi-Lingual (105 languages supported)
• Some glyph alternate forms
• Kerning (1922 stored pairs)
The font name refers to its tubular characteristics and comes from the Dutch word Buizen, which literally translate to Tubes in English.
I hope you like it,
Cheers
This is a clonePHOTONIA (Pro) - 70s future retro style
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70s style reverse contrast sans with future retro aesthetics, perfect for projects with a vintage sci-fi, space age or computer theme.
This is actually a refurbished and extended version of an older FontStruction I did back in 2019. The original PHOTONIA was a cool looking little work, but didn't quite made the most of its design concept. Inexperience and poor design decisions had led to inconsistencies and other flaws throughout the font. Besides those it also had a small character set that mostly consisted out of the basic Latin block and bare essential symbols & punctuation marks. But imo it still had quite an interresting retro vibe and the potential to be more. So I decided to give the old project some well deserved refreshments.
First I started eliminating the inconsistencies that were present in the older work, than I continued polishing and re-design / modify several characters hoping to create a greater overall unity to the entire piece. Once I was fully satisfied with this renewed improvements it was time to build and expand the character set towards a more complete lingual and typographic support.
➜ ⚠ Previous Version:
▶ Basic Latin only
▶ Minimal kerning
➜ ⚠ What's New Inside:
▶ Additional Latin and accented Latin
▶ Diacritics
▶ Many glyph alternative forms
▶ Additional symbols and punctuation marks
▶ Horizontal box drawing (page deviders)
▶ Typographical symbols
▶ Ornamental printer's characters
▶ 1680 stored kerning pairs
Cheers
This is a cloneThis is my first ever font using ideas to make an heavy sans-serif typeface. I was inspired by elmoyenique and Jamie Place (FontBlast). I'm not stealing ideas from anybody by the way, I've wanted to share something to explain a journey of making my own fonts in life.
I got some aspect of making the glyphs look heavier. I've tried to make the letter f, but it flawlessly has the same height as the other glyphs. If I make number four, than I've obviously make it like this because the slanted bricks are not enough to make up a four glyph. Some of the glyphs (for example: ð, ß, ™, ®) are hard to build it because it was considered to be rounded by its curve and too small if the text was heavier.
When I run out of name ideas, the only idea of this font name i've chose is Lourde (french word for heavy).