My final entry in the competition. Inspired by Mazey, zlabyrinths eYe/FS, and wavelength. Each glyph has its own maze, and each maze connects with the next. Tilde ~ and low line _ connect words, grave ` closes beginnings and ends, and the left and right arrows < > are for the start and end. There are also some alternates in Extended Latin A. Suggestions and critiques are welcome. Thanks!
UPDATES:
04/06/14 The whole font has been updated to be one brick taller, and thus properly fit onto a grid. Also, some characters have been redesigned. V2.0
05/13/14 All punctuation has been modified to continue a word maze. V2.1
07/05/14 1000 downloads! Hooray! As a 'thank you', I've completed more of More Latin. V2.2
08/22/14 I've made the accents part of the maze. I've also changed a few characters, and added Œ and œ. V2.3
08/04/15 Added Polish support with Ą, Ć, Ę, Ł, Ń, Ś, Ź, and Ż. Tweaked a few characters as well, and added a crossbar to the ð. V2.4
06/18/16 Added support for multiple languages with more Cyrillic chars and punctuation. Also tweaked a few chars.
A FUTURISTIC LETTER “A”!!
MY FUNNY LETTER “K”!!
AN OVER-EXTENDED EM DASH!!
WEIRD UPSIDE-DOWN CYRILLIC LETTERS THAT NOBODY’S HEARD OF!!
IT’S ALL HERE IN MY NEW FONT — ALDRON.
I THOUGHT THAT THIS FONT NEEDED MORE ATTENTION THAN THE ONE THAT I CLONED IT FROM, WHICH WAS MADE IN A COUPLE OF HOURS. AS WELL AS ADDING THE LATIN AND GREEK ALPHABETS, I MADE A FEW ADDITIONS AND ADJUSTMENTS TO THE CYRILLIC LETTERS AS WELL AS SPACING. AND UNLIKE ITS PREDECESSOR, THIS ONE IS KERNED.
IT WAS QUITE A DIFFERENT EXPERIENCE, ACTUALLY, ADAPTING A CYRILLIC FONT FOR LATIN INSTEAD OF VICE VERSA.
INTENDED LANGUAGE SUPPORT
• БЕЛАРУСКАЯ МОВА — BELARUSIAN
• БЪЛГАРСКИ — BULGARIAN
• HRVATSKI — CROATIAN
• ČEŠTINA — CZECH
• ENGLISH
• ESPERANTO
• DEUTSCH — GERMAN
• ΕΛΛΗΝΙΚΆ — GREEK
• ITALIANO — ITALIAN
• ҚАЗАҚША — CYRILLIC KAZAKH
• МАКЕДОНСКИ — MACEDONIAN
• TE REO MĀORI
• ROMÂNĂ — ROMANIAN
• РУССКИЙ — RUSSIAN
• SRPSKI, СРПСКИ — LATIN AND CYRILLIC SERBIAN
• SLOVENČINA — SLOVAK
• SLOVENŠČINA — SLOVENIAN
• УКРАЇНСЬКА — UKRAINIAN
AVAILABLE CHARACTERS (★✰*ALL KERNED YAY!!!!!✰*✪)
LATIN: ABCDEFGHIJKLMNOPQRSTUVWXYZ ĀÁÂÄĂĆČĈĎĐDŽĒÉÈǴĜĤĪÍÎĴĹĽLJŃŇNJŌÓÒÔÖŔŘŚŠŜȘẞŤȚŪÚÜŬŮÝŹŽ
GREEK: ΑΒΓΔΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩ ΆΈΉΊΪΌΎΫΏ
CYRILLIC: АБВГДЕЁЖЗИЙКЛМНОПРСТУФХЦЧШЩЪЫЬЭЮЯ ӘЀЃҐҒЂЄЅЍІЇЈЌҚЉҢЊӨЋЎҮҰҺЏ
THE NUMBERBET: 0123456789
PUNCTUATION: ()[]!?.…:;,„“”‘’-—«»*• AND OF COURSE, SPACE
GS Unicode is a project I worked on over the course of several years so (almost) all languages get support! With 14,564 non-spacing characters, this font is finished (as of Unicode 13.0, and as of FS's pre-July 2021 glyph inventory). Please tell me if some of the characters aren't working. I'll try to fix them as best as I can!
This font will no longer be updated except in the case of fixing errors. I'm now working on GS Unicode 2.0, a non-pixelated(!) font that uses FS's current (all of Unicode!) glyph inventory, and is set to take much, much longer....
...so I'll see y'all on the other side~
VOLLE 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_BUISJESTEFlonALuminium — A contemporary geometric sans-serif
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Inspired by the brand logo for French kitchen and home appliances company 'Tefal'.
The font is an extrapolation from the five letters that make up the original logo. I have made some small changes to certain characters to make them more suitable for a full font and body copy text format.
I hope you like it..
Cheers
This is a cloneKhnum /ħe.'nu:m/. I've updated this font, and given it an italic version, which is available on Font Library. There are three versions: Regular, B Regular, and MS Regular. B is for Bulgarian. MS is for Macedonian and Serbian. The inspiration for Khnum came from Media SA, which was my first large-scale font created many years ago. However, I wanted this font to be a non-modular font, so I re-created it on a small-scale.
Khnum has been updated and redrawn, and is now called Hhenum, which you can get on Font Squirrel.
This is a cloneAt 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.
Fauxhaus — Geometric minimalist modernism sans-serif design
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[INSPIRATION]
As the name already suggests, this indeed was inspired by the Bauhaus-typograpy towards functionality style.
More specifically by Austrian artistic polymath Herbert Bayer's 1925 experimental "Universal" alphabet.
The alphabet he designed became somewhat synonymous with the school's identity, and probably is the most well known Bauhaus typeface, and truly epitomizing that typical simplified "Form follows function" Bauhaus-minimalism style. It was also used for the new Bauhaus-building signage.
Some key features in Bayer's original form are those easily recognizable geometric sans-serif letterings, with letter composition based on strong basic geometry, having eliminated all decorative elements of the letterform composition for that crisp industrial, slight mechanical minimalist aesthetic. Bayer's original Universal alphabet also eliminated the need for a upper case letter, further simplifying it towards more of a functionality-driven standardization. Bayer developed multiple revisions and variations of the alphabet. Sadly Universal was never cast as a font, as during that era they weren't manufactured into printing typefaces, and the designs would only exist as drafts (as was the case with all Bauhaus-typefaces). Nonetheless it served as a lettering model for Bauhaus students, colleagues, and followers alike, and they were regularly re-used for signs, book covers and publications by many of its members, but even beyond institution walls the typographic style began to gain a foothold. Throughout the years we have seen a multitude of revivals and other Bauhaus-inspired typeface designs. Some of which that try to be faithful digitizations of the original, whereas others taking a more artistic approach to the style by providing their own personalized reinterpretation of the Bauhaus-aesthetic. So even to this day, many decades later, it repeatedly continues to inspire and influence designers time and again.
Bayer, First a student and later junior master of the printing workshop, was one of Bauhaus’s most influential attendees, advocating the integration of all arts throughout his career. Though not trained as a typographer, he was also assigned with the task of creating a universal visual & typographic identity for the school.—a task Bayer took very serious.Sparking perhaps the most mythic typeface to ever come out of the Bauhaus, which is "Universal"—one that at that time strove to be as idealistic as the school itself
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[THE "FAUXHAUS" FONT]
This is an artistic reinterpretation of Bayer's "Universal" alphabet.
Aiming to preserve the unmistakable style and simplistic geometric stylistic properties of the original, while in the same time allowing a more 'free-form'-approach towards crafting the letterform compositions. This of-course as long as they remains in-line with the stylistic properties of the original. And for the lack of having a better explanation;
—To do sort-of a 'faithfully different' artist depiction of Bayer's original Universal alphabet.
Some notable differences made in Fauxhaus compared to Universal are the re-introduction of a upper case form and the slight de-simplification and inclusion of subtle decorative nuance.
In some cases I've choosen to compose certain specific characters to be more or less identical as to how Bayer originally intended them, whereas others may be entirely different looking. And for some characters have one or more alternative form as well. Some of which are more 'ad hoc'- compositions drawn as we went when new ideas popped up. But others were specifically created to preserve and / -or include certain distinctive and unmistakably identifiable letterforms from Bayer's original Universal alphabet.
Greek & Cyrillic characters included in Fauxhaus were solely added for my personal experimentation purpose only, and they serve 'zero' function as to additional language support of the font.
"Use at your very own risk"— as these could very easily be gone the very next update.
Each letterform was meticulously composed from a random collection of the various memories, which after some thirty Bauhaus-inspired and / -or -revival works including their respective 'shared' research I have accumulated over time for Bauhaus typography like Bayer's work.
No source reference image was used as guidance for creating this FontStruction, everything came straight from the knowledge I gathered from the many previous Bauhaus related projects I did.
So to draw solely from memory alone somewhat a convincing and reasonably similar personal reinterpretation of an original 'Bauhaus' typeface at this stage has gotten pretty easy for me.
For this project in particular I've choosen to construct the letterforms on a medium sized grid, using the linear interpolation 'faux'-Bézier method. So beware that when using this font at very large point size rendering the remnants of this process will become visible!
That's all for now, I hope you like it so far,
Cheers
This is a cloneReload your brain, ask about everything. Our Future begins in... 3... 2... 1... NOW! NB: Better writing with uppercase. Three alternatives (B, F, T) to improve readability in certain cases are in the lowercase.
This font is a free download, but some use is prohibited without contacting me first. Please abide by the readme which is included in the download! Thanks.
The Works Progress Administration (W.P.A.) was the largest agency of FDR's "New Deal", employing millions of people. Over 2,000 posters were produced by the W.P.A. to raise awareness and support the arts.
I have a lot of admiration for these posters and a style of sign painters' lettering (sometimes called “gas-pipe”) that was common in the U.S. during the 1930s-'40s. WPA Gothic gets much of its inspiration from this poster in particular. This FontStruction stays true to the sample’s simple letterforms, but the FontStruct grid does present a few limitations. For more refined typefaces in this style check out DDC Hardware, Futura Display, FF Golden Gate Gothic, Refrigerator, and MVB Solano Gothic by some of my favorite type designers, two of which (Parkinson and Van Bronkhorst) are East Bay natives.
WPA Gothic has a few alternate glyphs hanging out in the Extended Latin slots with more to come.
To get a look at the typeface outside the confines of the FontStruct sampler, here's a sample poster.
May 25, 2008: Released a variation with low-waisted "deco" caps.
2019: 10 year anniversary update!
– Loosened the spacing a tad more.
– Added a few punctuation marks, including dashes, bullets, and inverted question/exclamation marks.
– Tightened ‘f’ spacing.
– Lengthened the quotes and apostrophes. They were so wee!
– And I fixed that Å! It’s not pretty, but it’s a ring.
Caps only font. You can use the glyphs placed at the lowercase to add a different second letter in pairs like EE, FF, LL, NN, OO, SS, TT, ZZ, etc. and to avoid graphic repetitions in a single word or phrase. Extra "c" at the "¢" glyph. (NB: To create this one I have greatly exaggerated the method used by my admired Beate -sorry, Maestra- in her font db Whisper, which successfully simulated hand-drawn letters.)
Based on an old glyph by the magnificent and always amazing Master geneus1. Caps only. You can find an extra A at the "a" glyph and a little C placed at the "®". See also the grey version.
This is a clone of zalida 3D eYe/FS