Work in progress …
Planning only to track down some bugs in the FontStructor, I was suddenly struck by similarities between the random shapes I was placing on the canvas and images I had stumbled upon recently on the web – I think it was in this article in the Guardian.
The images were of Peter Womersley’s modernist design for “High Sunderland”, fashion designer Bernat Klein’s erstwhile home, near Selkirk in Scotland. I wasn’t at first drawn to the modernism, but to the promised description of the experience of living in a house which was visually so open to the outside world – although ultimately the article wasn’t especially enlightening on that point. Later I found more extensive sources of images of the building on the web.
Working on this was the first time in quite a few years that I have been possessed by my own, earnest FontStructing rush. I was very pleased to find that the FontStructor tool still works as well and simply as it ever did – allowing for a uniquely swift and unimpeded creative progress through a set of modular glyphs.
The basic grid for each letter, based on the characteristic modules of the building, is topped by a slightly heavier bar and so slightly asymmetrical in the vertical, like the structure of High Sunderland itself, but it is essentially square and consists of six parallel horizontal bars.
In the FontStruction, the emphasis is on these crossbars – with every effort made to avoid partial horizontals and additional vertical lines, especially for the basic latin alphabet. The font is essentially unicase, with some variants in the lower case.
At one point I noticed that there are some window panels in High Sutherland which do have a single, thinner vertical divider (for sliding open presumably) so I used this for the middle legs of the M and W. After completing the initial FontStruction I also noticed in photographs of the building that there is at least one window with multiple vertical subdividers, so maybe that can form the basis for a new grid and a new FontStruction (High Sutherland B).
Things started to get fun for me when I got into the punctuation and accented letters. I saw no alternative to adding additional verticals for the hash, the percentage sign and some other glyphs.
I really like the percentage sign, although I’m not sure how legible it is – but I guess ultimately that it is an issue with the whole font.
When it came to glyphs with unavoidable diagonals – such as the slash glyphs – I went for a stepped approach, which I think is basically a good one, maintaining the emphasis on horizontal lines, and suggestive of musical notation – but the steps are a bit sloppy. I probably need to revisit them.
I’m not sure about applications for this FontStruction. Maybe it would be useful to someone intending to erect their own mid-modernist dwelling in the hills, or to someone planning to put up some new shelves!
Gothica Medieval was inspired by a font called Horde. That said, although the style is from Horde, this font is designed differently.
Copyright 2019 Doug Peters (https://www.Doug-Peters.com or https://Dougs.Work) of Symbiotic Design (https://www.SymbioticDesign.com).
Type: Modern Gothic.
Classifications: Angled, Old Style, Medieval.
Weight: Regular.
Web font: Yes.
Commercial use: Yes.
Redistribution: Yes.
Derivatives: Yes (see license).
Donations are super-appreciated. Credit for my contribution to this work IS also greatly appreciated.
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https://paypal.me/sitedesigner
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Oh yeah, I design logos, websites, graphics, ads, marketing campaigns, PCs, and just about anything, really. -DP
I decided to make a design which incorporated the thinnest/lightest weight lines possible in FontStruct. This is the result; I'll add more if people like it.
These 1/32 lines cannot be accurately nudged, so a unique line has to be built for each vertical position where I want a line. These lines also cannot be centered on a place where two curves meet (such as the middle of B or R). This introduces some unintentional asymmetry to the design, but I like it, so I'll keep it.
There is also the problem that forming a diagonal line of the same line weight is nearly impossible. While angled 1/32 lines can be formed, their angles are all close to 0. No method exists for making a line which slants at 45 degrees while also being 1/32 weight. So, I had to make some thicker lines in certain areas. I don't think they detract from the design, but if you scrutinize this enough, you'll notice them.
Here we have a filled-counter pseudoserif pseudostencil that is also a borderline IVO design at the same time! It also has a bit of a "double font" look going on if you look at the negative space.
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Design Rules:
1. Internal negative spaces of glyphs will be filled such that a 0.5-brick-wide void exists between the filled space and the glyphs themselves.
2. When a glyph's horizontal line intersects with the filled space created by Rule 1, both the filled space and the line will be broken.
3. Vertical lines will only connect by two tapering curves or by the implied connections created by filled negative space.
4. Filled negative spaces may only join with the outer perimeters of glyphs.
A pixel art galaxy. 27*27 canvasses.
There are 12 distinct fonts lurking within this one. Spot 'em all and win a FREE Nothing!
Original size: 20.25pt (use multiples of this size for pixel perfection)
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-= LEGEND =-
A - Space Shuttle, B - Planetoids, C - Alien, D - Space Station, E - Pulsars, F - Satellite/Telescope, G - Planet & Moons, H - Kempler Rosette, I - Bar Sign, J - Space Bar, K - Interstellar Planet/Dark Star, L - Double Sun Planet, M - Globular Cluster, N - Earth, O - Galactic Plane, P - Asteroids, Q - Alien in Saucer, R - Black Hole/Wormhole, S - Globular Cluster, T - Dyson Ring, U - Giant Star, V - FS Nebula, W - Nyan Cat, X - Starship Enterprise, Y - Star-Forming Region, Z - Planet & Rings
a - Space Armada, b - Dr. Wily, c - New Stars, d - Binary Star System, e - Colliding Galaxies, f - Space Pirates & Mothership, g - SpaceX Roadster, h - Colliding Planets, i - Space Drone/Probe, j - Colony Ships, k - Ringworld, l - Halfmoon/Destroyed Planet, m - Uninhabitable Planet, n - Solar Wind, o - Wrecked Spaceplane, p - Escape Pods, q - 'Oumuamua, r - Moon, s - Molecular Clouds, t - Navigational Buoy, u - Marx, v - Substellar Companions, w - M57 (Ring Nebula), x - Space Lodge, y - White Dwarves, z - Death Star
0 - Big Star, 1 - New Spiral Galaxy, 2 - Old Spiral Galaxy, 3 - Supernova, 4 - Exploded Star & Nebula, 5 - Planet X, 6 - Quasar, 7 - Cruiser, 8 - Hypernova, 9 - Gas Giant
+= - Space Hotdogs & Food Sign, / - Planet & Comets, ; - Gamma-Ray Burst, : - High-Tech Planet, ' - Dense-Atmosphere Planet, " - Space City, £ - TARDIS, € - Sinistar
.,?!@#$%^&*()-_{space}{nbsp} - Starfields & Map Markers
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I add new art to this whenever I get more ideas. But I don't want the legend to be any longer than it is, so I leave the others for you to discover on your own.
Version 0.2: Improved all glyphs, added More Latin, changed name to "Letsago".
TODO: Make line widths more consistent, especially on numerals.
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A friendly, but slightly obtuse font. I think these polygons are the smallest and simplest ones which can be made with stock FS bricks and used to create glyphs with a truly circular appearance. This only works up to a certain size before the look reverts to that of a polygonal sans-serif, but it works very well up to that point!
This is the culmination of knowledge gained from several other experiments, such as Marginalia. It should be very difficult to make a smoother font from this at the same grid size while still using stock FS bricks.
Some kerning is done, but the majority of it will be done once every glyph is considered to be perfected. For now, you can use vector software (like Inkscape) to manually kern pairs.
The "gremoji" symbols used in Virtual Gremlin. These are spoken to the player by those Gremlins who are not intelligent enough to form words, and can be used to guage the Gremlins' moods.
Original size: 21pt (use multiples of this value for pixel perfection)
anything goes in this book-style pixel font. it is for secret project.
maximum of 11 pixels tall (plus 3 px descender below)
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[1.7d] Still working on CJK and Hangul. Still not even halfway there!!!
[beta 1.7c] More CJK, Aboriginal Canadian Syllabics, Bengali
[beta 1.7b] More CJK but still not nearly enough
[beta 1.7a] I found a stray pixel which stretched the font two pixels too high. It's gone now.
[beta 1.7] ??? stuff? korean jamo, like 0.3% more of the CJK, Greek Extended, and one of the East Asian scripts (the name I forgot :<)
[beta 1.6d] assorted CJK and symbols
[beta 1.6c] devanagari (hindi script), thai
[beta 1.6b] thai and other junks. some characters improved