2361516
Published: 8th November, 2009
Last edited: 9th November, 2009
Created: 8th November, 2009
I wanted to do a version of infix without the letters inside, but some of the letters were only distinguishable because the other letter was inside (D and O for example).This is a clone of Infix
224767
Published: 31st August, 2009
Last edited: 31st August, 2009
Created: 23rd April, 2009
Italic but without the slant.This is a clone of Friendly serif
3251628
Published: 30th October, 2009
Last edited: 2nd October, 2009
Created: 2nd October, 2009
For a full description see Sans Serious IThis is a clone of Sans Serious III
11896522
Published: 24th June, 2009
Last edited: 29th June, 2009
Created: 23rd June, 2009
Experimenting with reverse glyph building (knockouts) to create a modular monoline font with more fluid, rounded shapes.
A work in progress. I would appreciate any and all feedback, suggestions, etc.This is a clone
2101446
Published: 20th May, 2009
Last edited: 23rd June, 2009
Created: 18th May, 2009
Like 'Simple Fraktur' but with bigger decorative capitals in a black square frame. working on the diacritics.This is a clone of Simple Fraktur
187485
Published: 20th September, 2009
Last edited: 28th December, 2012
Created: 5th September, 2009
This came out of my first attempt at using filters ... set to 1:2
9488644
Published: 20th January, 2010
Last edited: 4th April, 2019
Created: 17th January, 2010
Warning: Work in progress. I'm just putting it up because it finally has a complete lowercase alphabet & so is actually usable in limited cases.
The goal with this project is to create a humanist italic close to a Caslon, but within Fontstruct limitations. The x-height here is actually quite small: 6 blocks tall.
This one seems to stand small point sizes surprisingly well. At larger sizes, it begins to look jagged but that's actually kind of nice. Of course kerning is all over the place. Not to mention the lack of capitals, punctuation, etc. There will be changes. Use with caution.
225610758
Published: 21st June, 2010
Last edited: 7th August, 2010
Created: 2nd June, 2010
A simple block serrif that was frequently used on traditional narrowboats in the UK.
8265832
Published: 24th April, 2010
Last edited: 4th May, 2010
Created: 18th April, 2010
A basic design which was used for me to dip my toe into the use of 2:2 filters.
59476218
Published: 28th October, 2009
Last edited: 27th October, 2009
Created: 27th October, 2009
For a full description see Sans Serious IThis is a clone of Sans Serious I
7431939317
Published: 10th April, 2010
Last edited: 10th April, 2010
Created: 27th December, 2009
Because you can never have enough ball terminals...This is a clone
527102788
Published: 19th July, 2010
Last edited: 20th July, 2010
Created: 3rd April, 2010
Not quite finished - I'm not happy with the X and a few other glyphs most likely need tweaking.
Suggestions welcome, as always.
71954171177
Published: 1st September, 2009
Last edited: 9th September, 2009
Created: 13th July, 2009
Hunstrüct is my first attempt at designing a contemporary blackletter typeface within Fontstruct. The typeface draws inspiration from the long tradition of German Fraktur styled blackletters. The name Hunstrück is taken from a mountain range in Germany called the Hunsrück. Primarily I was aiming to build a face that would work well as a display type for gig posters and larger headlines but as I reworked the typeface I tried to strike a balance between text and display.
Big thanks goes to djnippa for his hard work in spacing this font properly.
1411622738
Published: 1st July, 2009
Last edited: 11th December, 2009
Created: 4th June, 2009
A mono-height, 60s inspired font.
I'm not 100% sure about some of the uppercase characters - mostly the later ones... so all comments are gratefully recieved.
Oh, and more latin characters are on the way...
3369913
Published: 24th July, 2010
Last edited: 26th October, 2010
Created: 23rd July, 2010
This one looks better in smaller sizes. Best at pixel size.
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I started with the small letters. Then I tried to create matching capital letters. I'm not sure about other glyphs.
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Any suggestions/comments on this are welcome:)
3522337191
Published: 15th August, 2009
Last edited: 12th April, 2012
Created: 3rd August, 2009
ASL is not a written language, but this font should, hopefully, assist anyone wishing to learn ASL.
The following is a quote from Wikipedia:
"American Sign Language (or ASL, Ameslan) is the dominant sign language of the Deaf community in the United States, in the
English-speaking parts of Canada, and in some regions of Mexico. Although the United Kingdom and the United States share English as a
spoken and written language, British Sign Language (BSL) is quite different from ASL, and the two sign languages are not mutually
intelligible
ASL is often written with English words in all capital letters, which is known as glossing. This is, however, a method used simply to teach
the structure of the language. ASL is a visual language, not a written language. There is no one-to-one correspondence between words in
ASL and English, and much of the inflectional modulation of ASL signs is lost.
There are two true writing systems in use for ASL: a phonemic Stokoe notation, which has a separate symbol or diacritic mark for every
phonemic hand shape, motion, and position (though it leaves something to be desired in the representation of facial expression), and a more
popular iconic system called SignWriting, which represents each sign with a rather abstract illustration of its salient features. SignWriting is
commonly used for student newsletters and similar purposes."
http://en.wikipedia.org/wiki/American_Sign_Language
1274146257
Published: 26th October, 2009
Last edited: 2nd October, 2009
Created: 1st October, 2009
The ‘Sans Serious’ Series is a group of tribute typefaces meant to honor Dutch designer and typographer Jurriaan Schrofer.
Along with Wim Crouwel and Josef Albers, Jurrian Schrofer (1926 - 1990) was among the Bauhaus pioneers of grid-based modular typography and design.
Schrofer's work experimented with type, light, and color and focused on mathematical shapes and pattern.
“Schrofer made several attempts to create complete typefaces - one of which was wittily calledSans serious- but this was never his goal. ‘Is it necessary’, he wrote, ‘to make complete alphabets with upper- and lowercase, figures, diacritics and seriously adorned with a name, when the aim is merely a formal investigation into basic recipes’ Schrofer's domain was never the design of typographic alphabets, to be used by other designers, but always the creation of letterforms ‘made to measure’ as part of his own designs of - mainly - book covers and postage stamps. He created a rectangular alphabet as the basic element of his ever-changing covers - each based of the same grid but colored differently - for a series of scientific books, ‘Les textes sociologiques’ from Mouton Publishers. He made sophisticated pixel-based letters, all drawn by hand, and experimented with photographic screens as a means of distinguishing simplified letterforms from the background. He created logotypes built from custom-made letterforms, based on rectangular grids.”
“In his booklet ‘Letters op maat’ (‘Type made to measure’, 1987), Schrofer presented many of his experimental alphabets from the 1960s and '70s. The booklet was part of a series of goodwill publications edited by Wim Crouwel for Lecturis Printers, Eindhoven.”
1511917037
Published: 14th February, 2010
Last edited: 31st August, 2011
Created: 14th February, 2010
A pixel-friendly semi-condensed slab serif fontstruction. Deceptively simple in appearance, variable stroke thickness is achieved through advanced filters and a one-brick stroke thickness for vertical strokes.
I kept the spacing tight (and at an integer value) so it works decently well as a pixel font down to 8 pt (at 72 ppi this gives an x-height of four pixels and a breezily condensed form). Some funky spacing issues remain without kerning pairs. Kern as desired and remember to have some fun with it!This is a clone
761111520
Published: 8th January, 2010
Last edited: 25th November, 2010
Created: 8th January, 2010
For the first time a fontstruction went bad on me, when I accidentally edited it in two browser windows at once and saved it. This is the recreation.
6061448
Published: 15th May, 2009
Last edited: 22nd June, 2009
Created: 15th May, 2009
I put this one together very quickly. Diacritics and punctuation are coming soon.
2902117081
Published: 2nd May, 2024
Last edited: 9th September, 2009
Created: 8th September, 2009 Hunstruct's taller cousin.This is a clone of Hunstruct
851021634
Published: 5th December, 2009
Last edited: 5th February, 2010
Created: 25th November, 2009
Fimbriae is apparently irretrievable - so this is the latest incarnation, largely faithful to the original. I'm not yet happy with the V and W, but I need to step back for a while. As always, hints and suggestions are most welcome.
46757353
Published: 20th June, 2008
Last edited: 14th December, 2009
Created: 20th June, 2008
An experimental face focusing on contrasting shapes and color.
309162787
Published: 8th November, 2009
Last edited: 9th November, 2009
Created: 20th October, 2009
I began by exploring the theme of decaying objects, such as fruit, and studied the shape (and change of shape) of the objects, as they progressively fell apart. By creating hand drawn sketches i began to create a typeface that looked as though it was rotting/melting away. I used a traditional typeface, Times New Roman, that could be considered as quite boring and a font which has been around for a long time and then used it as a base font which i then made to look as though it was rotting and falling apart by refering back to my earlier sketches. Overall I aimed to create a typeface that represents the decay of an older, more traditional and perhaps overused typeface.
862415262
Published: 9th June, 2010
Last edited: 4th July, 2010
Created: 6th June, 2010
I was a little bit bored, and this is what happened.
The name is because I have no idea what the origin is, and it's a little ugly.
1012921332
Published: 23rd June, 2010
Last edited: 5th July, 2010
Created: 7th June, 2010
It start with a very simple design of K and R narrow and tall but especialy a rounded end for stem and detach at the connexion.
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I declined the rest. At one point I add carving inside the of O just for fun and found this avenue interesting. So I play with it, even with unusual glyphs like Iijl
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Add some long alternate glyph for more fancy short word or headline
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a bit unhappy with Vv any crit are very welcome