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.
Mjölnir slab serif novelty display font Copyright 2020 Doug Peters of Symbiotic Design, all rights reserved worldwide, including artistic and creative rights. Version 1.005
Mjölnir is the name of Thor's hammer (God of War), hence, I tried to make the letters resemble some sort of new fangled hammer.
This is a clone of TRE45ON_FSSee more:
https://www.fontstruct.com/fontstructions/show/1677460/garry-3
https://www.fontstruct.com/fontstructions/show/1633313/detour-3
https://www.fontstruct.com/fontstructions/show/1742956/transom-hoog-1
https://fontstruct.com/fontstructions/show/853542/at_liena
See more:
https://fontstruct.com/fontstructions/show/1533648/dracula-4
https://fontstruct.com/fontstructions/show/1816053/spaaace
https://www.fontstruct.com/fontstructions/show/1659156/soul-ninja-1
https://www.fontstruct.com/fontstructions/show/1424617/biologic-1
https://www.fontstruct.com/fontstructions/show/360025/ziti
https://www.fontstruct.com/fontstructions/show/14322/canal_carpien
this font was created for the logo of my discord server, "DOLPHIN." it was actually my first fontstruction, but has undergone some revisions and is now being released publically. it is heavily inspired by the font "FUTU" by emil bertell.
This font was created around the theme of 'elegant'. I chose to focus on the elegance of flowing fabric and drapery, so designed these letters inspired by classical depictions of fabric in paintings and marble sculptures.
Please note this is an uppercase font so will only work when typing in capitals.
This is a cloneConstructed on the bones of fs minimal.
See more:
https://www.fontstruct.com/fontstructions/show/290868/here_is_your_receipt
https://www.fontstruct.com/fontstructions/show/87372/dos_system_font
https://www.fontstruct.com/fontstructions/show/164595/ncd_receipt_1
https://www.fontstruct.com/fontstructions/show/1616604/wopr-terminal
https://www.fontstruct.com/fontstructions/show/831521/wartext_inverse
This is a clone of LCD Line CDresde Serif displays chiseled uppercase and flared terminals to give extra sturdyness.
This is a clone of Dresde SansWORK IN PROGRESS!!!
Pixel font based on Civilite Vigesimal by flat-it.
See more: https://www.myfonts.com/fonts/profonts/rhapsody/
https://www.myfonts.com/fonts/flat-it/civilite-vigesimals/
https://fontstruct.com/fontstructions/show/1073397/wrath_of_mordor
https://fontstruct.com/fontstructions/show/1410086/myrtille-pixel
https://helghelg2.livejournal.com/48502.html
http://www.rbardalzo.narod.ru/4/skor_rus.html
https://www.fontstruct.com/fontstructions/show/1554534/squareflow
This is a clone of Elion ItalicAt the end of October I decided to dive into the new Bricks 'Connect'. I started with the lowercase 's' & 'a'. Working out what the minimal size I could fontstruct it in, then expanded and condensed it from there to accomadate the rest of the glyths. You can still see these in the font above (Just before the Latin characters. As I progressed I came to love the thin white gaps, and then tried to have every glyth with some element of the curved white gap in it. Some were more successful than others. As you can see, I have included the less preferred options at the end. I've also designed some of the final glyphs in illustrator, as it was impossible to have all of them with one white line, without help from an external app.
The most difficult glyphs to create and ultimately the most satisfying once completed were the 'V' and '~'.
I liked the look of final font so much, that I decided to create a whole family. Cableguynium 0 (which has Zero cables), CableGuynium 2 (which has 1-2 cables per glyth), and CableGuynium 3 (Which has 3-4 cables).
Unusually I struggled naming this font, I have early versions saved called Flowonica, Rubber Tyre, Ice Skater and Fibropticon, ..... eventually settling on CableGuynium as it was the most memorable.
ANY CRITICISM, GOOD OR BAD IS WELCOMED.
Upgraded 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 AenvidereThicker 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 StiloAenvidere (the normal weight version) still needs fine-tuning and kerning. That will come, eventually :) At the moment I'm quite busy doing too many things concurrently.
Check the font description for AlexGar-Aenvidere for details.
At a later date I'll publish a squared-off version of this. Aenvidere SQ will have the same glyph style but will be wider than the other versions which might make it less useful as a "tool" to attract attention when added as splash insert in text that uses another Aenvidere version.
This font and tm Nibble started off as one. Both were different from what they have now become. The idea was to create a very heavy, minimal curves and angles to give a sense of the glyph.
It started with a plain N and a solid O. Making the E match either the N or the O resulted in deviation from the style just enough that it warranted a spin-off into a font of it's own.
Some letters—such as G and H—proved quite difficult to match in the style of either. A slight angle shift resulted in a glyph that did not go with other glyphs. I kept trying different possibilities...and at some point decided to save the discarded option into another fs, which now contains more than 200 characters.
The teardrop counter in tm Byte forced a complete redraw of all glyphs at about 2× the size.
I am already working on two additional fonts that came out of this exercise...and it might yield more.
As I like the glyphs' shapes of midi-trente etc I let myself be inspired by fonts in FS 'op art' set to get an additional style for the "midi" series.
This is a cloneThis font started offline. It wasn't even supposed to be a font. I was just showing some students the value of a grid, even as tiny as 5×5 and the thousands of possibilities it generates. It led to making an 'a'. Of course, once that exercise was over, I had to continue making other letters. It's a compulsion. Sorry. The offline idea was slightly different. Compromises had to be made due to the limitation in place by the bricks available.
Make the letters any width desired.
Type the uppercase letter for the left half of the letter, type an extender (or not), then type the same lowercase letter for the right half of the letter. The more extenders are inserted between the left and the right halves, the wider the letter becomes.
I and T are the exceptions where the extenders are typed before and after the left and right halves and not inbetween.
The other exceptions are M and W which have been split into 3 and extenders are added between the left, middle and right thirds.
? is split between ? and /
Extenders are located at @ # $ % ^ & * ( ) and _
How to extend:
A@@a, B##b, C$$c, D$$d, E##e, F%%f, G$$g, H^^h, &&Ii&&, J**j or J**$$j, K^^k, L**l, M(({((m, N((n, O$$o, P@@p, Q$$q, R%%r, S##s, (((Tt))), U**u, V**v, W**}**w, X^^x, Y^^y, Z__z, ?@@/