For the moment this is the final version of Syngrapheis, reasonably extended. I'll add basic Greek and basic Cyrillic later because I think that the glyph shapes will look good in those writing systems. I've changed the 'g' since the sampler. I wish to offer this version to Google later so if you see any mistakes, strays or breaks etc please let me know.
This is a cloneMany alternates as I couldn’t choose between some letters variants, and because certain initial lowercases look better without that top-left swash.
~ Alternates ~
< - Alt. G 1
> - Alt. J
_ - Alt. A
@ - Alt. S
# - Alt. E
$ - Alt. F
% - Alt. G 2
* - Alt. d
) - Schoolbook a
] - initial schoolbook a
[ - initial a
" - initial s
/ - initial e
\ - initial o
Initially made for NW & SW European members' languages this typeface has grown over time to include glyphs for most European languages. My friend Ray will be happy to see Welsh and my friend Johneen can write in Maori :)
Thanks to TCWhite I've found the 2E2E point to place my favourite punctuation/symbol correctly.
I've sent this to be rewiewed for Google Fonts. Having done so I'm stuck, I don't know how to proceed there: how can I get people to look at it, comment?!
This is a clone of MasterClass 1@This is an extended version of Ostara Aria and more elaborate than the "Kerbe" designs. I changed the look of the LC and adjusted some of the UC.
Now the UC lace is better structured and distributed; glyphs A,N,M,U,V,X,Yand their LC, and @,7 and quotation marks have changed shape slightly; missing glyphs on the More Latin set (and the entire ExtendedLatin1 for my family, friends and aquaintances across Europe) needed quite some work due to the ornate sections - I hadn't planned on making this many glyphs, the ornate look was just intended for display UC of English, German and French and not for any other glyphs. Getting diacritics to look good with the decorated UC glyphs was a challenge but I think the ones I've decided to use don't overdo the ornateness nor distract from the glyph's shape.
Due to the new glyphs and diacritics I should have added 1 pixel height to accommodate the decorative lace element more obviously. Instead I changed some shape-rules ever so slightly to have an easier time adding the lace brick.
The LC is now solid black; diacritics have some added lace to integrate better in the design. The LC gives a separate font which might be of interest for headlines, advertising, on signs, cut to sew on fabric etc.
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Note that there are still some adjustments/spacing needed; the kerning isn't finished yet either. I'm publishing this to get constructive comments -- and praise ;)
[youmoor]I plead for an algorythm that allows one strange/incomplete comment or (psychosocial) pinaillage for every 1 or 2 sincere (++explained) praises :D Applicable not every minute of the year you understand, only from GMT 0:001h Mondays to GMT 23:599h Sundays [/yoomoor].
The font's name is Malagache.
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 cloneAenvidere (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.
See more:
https://fontstruct.com/fontstructions/show/2231576/circ-14
https://www.fontstruct.com/fontstructions/show/1721148/lr-syche
https://www.fontstruct.com/fontstructions/show/851715/dolphin_sans_3
https://www.fontstruct.com/fontstructions/show/787470/fs_semi_circle
Tirrel font is Copyright 2019 Doug Peters.
This is the original version of Tirrel. Although a display caps font, the uppercase has a hard, bold, brash version of capitals while the lowercase holds the 'softer' alternates with more defined characters. If you only want one or the other and have the habit of using shift (or caps lock), there should be two other versions of this font accompanying it, one "Tirrel Hard" and the other Tirrel Soft" to relieve frustration of those who type well.
Categories: Monospaced Sans/Stencil.
Types: White Space, Striped, Display Caps, Logotype, & Novelty.
Weight: Heavy Bold.
Web font: Yeah, sure.
Commercial use: Yes.
Derivatives: No.
Redistribution: No.
https://www.Doug-Peters.com
https://Dougs.Work
https://SymbioticDesign.com
https://Worthful.com
https://Font-Journal.com
My best Domain Name registration service:
https://www.DomainHostmaster.com
My best web hosting solution:
https://HDWebHosting.com
PayPal donations (to encourage my continued design efforts):
https://paypal.me/sitedesigner
Thicker 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 StiloThis is the bolder version of INGEROL. Made for my uncle ROLF who is celebrating his birthday on the 28th August. I named the font for him and in loving memory of my aunt INGE who I miss very much. Love, Holli and Ninzi.
Not just a tad thicker lines but additionally I have changed quite a few glyphs' edges and even shapes. But I've maintained the original width of letters (exeptions: l, m, t, r, w, @) and numerals to allow using glyps of this clone as a kind of majuscule with Melusine.
This is a clone of MelusineNumerous single brick pattern fillers and connectors, ready for you to use/clone/copy/change and put into your own designs or whatever.
All patterns are designed to work as a selection fill. So in other words: the patterns will always look the same regardless of the dimensions of your selected area!
They come in a wide range of styles such as: Retro, Tile, Seemless, Textile, Composite, Glitch, Minimalism
All bricks are stored and saved in the custom brick pallet.
Enjoy!
At 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.
Discopatentiously Obstructivenating font Copyright 2016-2019 Doug Peters.
This is my own clone of the original version. It may look a little like my Kindegraf or Sketchy fonts, as it's my handwriting with a mouse, and I bet there isn't a lot of deviation there (with the handwriting) but it IS different. More characters would require more work. Happy to do it, but not for free.
Categories: Pixel font.
Types: Hand printed lettering.
Weight: Regular, Curly.
Web font: I don't think that would be a good idea, NO.
Commercial use: When Purchased.
Derivatives: NO.
Redistribution: NO.
https://www.Doug-Peters.com
https://Dougs.Work
https://SymbioticDesign.com
https://Worthful.com
https://Font-Journal.com
My best Domain Name registration service:
https://www.DomainHostmaster.com
My best cloud web hosting solution:
https://HDWebHosting.com
PayPal donations (to encourage my continued design efforts):
https://paypal.me/sitedesigner
I wanted to try some 'deformation' of the perspective used for italic glyphs. It was fun to try, the font looks amusing and the slants are irreverent enough. I know that a word processor could change Raysan into an italic style but a word processed Raysan would be too predictable and without creative spark.
Despite the purposeful changing of lines specially the curved sections which don't follow any "perspective rule" this font looks italic. It has a pleasant rythm in longer headlines etc, and gives eye catching 'splash' text when used with the parent font.
It took quite a while to finish, I constantly fought the wish to make composites and stacks to get the correct shape and directions into the curves.
This is a clone of RaysanIdeal for colouring in so it's a great 'tool' for letter work in playgroup and primary school with the added benefit of introducing the idea of serifs which links into historical lettering systems.
wip////
Sew more:
https://fontstruct.com/fontstructions/show/466976/rounds_9
https://fontstruct.com/fontstructions/show/549552/red_wedge
https://fontstruct.com/fontstructions/show/1311109/mogwa-sans-c
https://fontstruct.com/fontstructions/show/91794/peghole_wide
https://fontstruct.com/fontstructions/show/743755/kiova_captura
https://fontstruct.com/fontstructions/show/365205/archly_gothic
https://fontstruct.com/fontstructions/show/192503/model_2000
An alternate slightly taller "a" is on the "µ" and another "x" on the "\". Kerning of really obvious pairs will be done. I'm showing this only because it's a clone that automatically replaced the compos, stacks and standard bricks with the square brick.
A while ago I mentioned encountering the swapped bricks and weird (=51) brick quantity in another cloned version of this design. At first I felt frustrated but then I thought it might work out as a useable font. Without the surprising swap there'd be no Romaeo as a pixel design!! Now I think the glyph shapes look really good with pixellated edges, I'd not have worked a chunky Romaeo into a pixellated chunky Romaeo. Proof that there might be unexplained and unwanted brick problems which don't deserve to be forgotten or deleted as the design can be used to develop a quite acceptable font.
This is a cloneWIP
Rezkii chotkii shrift.
See more:
https://www.fontstruct.com/fontstructions/show/1537870/amd-revived
https://www.fontstruct.com/fontstructions/show/744986/razorblade_4
https://fontstruct.com/fontstructions/show/252135/shine_10
https://fontstruct.com/fontstructions/show/370890/edge_31
https://fontstruct.com/fontstructions/show/836597/vermin_vibes_dystopia
https://fontstruct.com/fontstructions/show/38623/next_level
https://fontstruct.com/fontstructions/show/19330/e_keet_beans
Pluranon
https://fontstruct.com/fontstructions/show/115164/sharp_progress
Kreased
https://fontstruct.com/fontstructions/show/857936/nt3_01
https://fontstruct.com/fontstructions/show/1179720/yg_rounded_redo
https://fontstruct.com/fontstructions/show/778404/ace_adventure
This is a clone of Femme fataleSee more:
https://www.fontstruct.com/fontstructions/show/1470403/high-at
https://www.fontstruct.com/fontstructions/show/694135/fs_nice_and_tall
This is a clone of BicycleThis typeface was concevied two years ago and later shelved. Thought that it was still worth finishing so here it is. It's another take on the square dot matrix style that I did with the MinSha typeface back in 2010.
I finally made it: the font based on the few letters that my favourite Biscuit carries.
I wanted such a font to add to my font collection of unusual or art-craft-themed fonts (started when we had our first internet-capable computer in 1999). As I couldn't find this font I looked at Art Nouveau and AArt Deco style fonts, also at furniture and wall papers of that period --- that kind of guided me when working on the 'missing' letters of this font which must have been designed before it could be chosen for the biscuits, and which I neither have found nor do I know its real name.
The UC are on biscuits. The LC are only the letters, on the level they have on the biscuits to enable a kind of 'Majuscle' arrangement for texts.
Diacritics of more Latin are done, also useful symbols and punctuation. A crumb-free "+" is on the "%", a biscuit with surface dips is on the "(" and one with a flat surface is on the ")". The square brackets, when used without a space or letters, will make into a narrower biscuit, and are also used like round brackets.