The ultra-low resolution of this grid may be difficult to grasp without cloning. Fontstruct’s logo has a nominal x-height of 3 bricks, by comparison.
The level of detail, control, and finesse possible in a given fonstruction depended mostly on resolution prior to the recent advent of stackable composites. Did you want it better? Make it bigger!
Brute force, now meet Elegance.
Instead of building individual glyphs hundreds of bricks tall, stackable composites allow us to design rich modular schemata hundreds of bricks deep. Using curved bricks at their largest scale, linear and curvilinear elements dynamically harmonize and oppose. As well, screen fonts can be effectively hinted (aside from notable lack of kerning controls) without sacrificing the integrity of joins and intersections. And the trapping possibilities, Oh the sweet sweet trapping possibilities...
Please, vote kindly and stay tuned for more :)
This is a cloneWhile recreating/revising one of my very first fontstructions – April 2008’s Asgard (second to last one) – I realized it was going to take something more drastic still than switching to 2x2 filter settings to realize my dream of a harmonized U&lc set.
The original’s lowercase had several compelling and unique features (at the time), the uppercase worked well enough in all caps display settings...but they very rarely sat comfortably together. The answer couldn’t have been more simple: since the caps (which surprisingly came first...or does this just reveal my noobishness at the time?) are rather narrow, the lowercase itself needed to follow a more logically elongated model.
Here the flexibility of 2x2 filters kicks into high gear as the original design’s lc is tweaked by half a brick extra height to bring about a more righteously rockin’ family.
(Asgard 1.x plateaued at 829 characters, so – as always – more to come...)
Pixel-rounded version of zhowfrakt. Another point of view, more "organic".
This is a clone of zhowfrakt eYe/FSAnother handwriting script style font. Some suggestions for a better results: 1) You can put an additional bar (placed in the "<" and ">" glyphs) before typing a lowercase word. 2) And it's also convenient to add an extra space before writing a word with a capital letter to improve the separation between they. But you're the boss with it. Enjoy.
I decided to be laynecom for a day, and this is the result. Didn't have time for numbers and punctuation though, unfortunately...
Some alternates available in Extended Latin A. Suggestions and critiques encouraged, as always. Thanks and enjoy!
More of an experiment than an attempt at an amazing typeface, but I thought it'd be a fun entry nonetheless. Don't let the creation date fool you: I started this design in early 2014. There were many issues that had to be remedied before publishing, most notably the lack of characters and major discrepancies between the shapes of serifs (some were entirely triangular, others entirely curved). It's still heavily a work in progress. Suggestions are encouraged, especially for the Q and punctuation. Thanks and enjoy!
This is a cloneInspired by a font I saw in a children's book. The artist had drawn a map of the world on canvas and used a tiny serif font to label important points on the map. The letters had such a cute hand-made feel to them that I just had to recreate it in FS.
Uppercase letters are 6 grid squares (3 bricks) tall; lowercase are 4.5 (2.25 bricks). IIRC nudging had recently been introduced; this definitely would have been impossible without it.
Three in a row: after one lycanthropic font, another to the zombies... the third is for the scifi... and FS!.
A non standard stencil/piano-like font, using an experimental "guides + nudging" kerning process and a lot of smooth curvy shapes. Some soft alternates (for A, W, w, X, x, Y and y) are in the ligatures area at the More Latin section.
This is a clone