Developped from the basic Raysan design I made to celebrate knowing P2P and appreciating his support when I first started FontStructing, I wanted a joyous more relaxed look to thank him.
This is a clone of RaysanI needed a dotty looking font to print on cards to be embroidered by a youngster; the present design is based on it with added embellishments and more gyphs. Maybe someone else might find it useful? The different bricks used could indicate a change of stitch style or a different colour.
This is a clone of Kerbe2Good luck Ryan, I hope things will go well with you. Don't hesitate to check your account, no need to publish fonts while you have other things to do. But it would be nice if you could say "hi" in the forum :) when you're logged in
This is a clone of Flat FatInspired by a lace edged table cloth. Good for a word of greeting on a card for Easter (or Ostara, but you're a day late ;) so you best grab it for next year... ) It would be great to use on cards, labels, book bindings, for someone doing needlework, crochet, knitting, tatting, macramé, sewing, stencil work and similar paper or thread based crafts.
This is a clone of Kerbe2Inspired by wildlife in the garden. A fun slightly crazy design for spring time. There is a bit of variety in the heads, depending on the species of butterfly that will emerge :)) Toukka is Finnish for 'caterpillar'.
Work finished for the moment ...
I recently saw a type face with bits missing and thought "Looks interesting, can I do something with this idea?". I used one of my older sans designs but soon discovered that I needed serifs to get logic to the gaps ;) So I started work on a good serif design to use as the base. Here is my interpretation of what I saw, it looks rather different from the one that inspired me.
Based on Romaeo serif which I have not yet published as I'm still having a little problem due to the size of the fonts (but my patience can overcome it once I have the time to rework and finish them).
This is a cloneSlab Serif 300 as a stencil font. Bridges on the UC are vertical, on the LC horizontal. Bridges on numbers, symbols, punctuation are mostly vertical.
This is a clone of Slab Serif 300The thickness of the horizontals now matches the verticals and diagonals (doesn't apply to small punctuation and some symbols). Note the new "q" which suits the weight of the lines.
This is a cloneThe outline version of "Slab Serif 100". Sizes are as the parent font so this version can be used with the parent and other versions. Work in progress.
This is a cloneI added the missing letters of the More Latin set and some on Latin1 plus numbers, some fun dingbats and the punctuation marks I use.
This is a clone of FS Flower ShopBased on Aeolingia Decora this version has the basic Latin UC, Cyrillic UC, numbers plus essential symbols and some diacritics for decoration.
Use it for splash text or logos, it can't be used for long text nor for headlines as it is rather abstract.
The modern Rouble symbol is on the LC "er" = p
This is a clone of Aeolingia DecoraDesigned for those members who want inspiration, it could guide them when they need ideas on which to base a font.
Use this like a font: close your eyes and type a 'word' with at least 7 letters.
If you can touch-type: forget it; you'll need to be quite unstructured in order to get a good variation of letters every time you want inspiration ;) If you want some uncertainty -bad spelling will be very helpful here;)- you could write the 'name' of the minute when you decided to get inspiration for a new font , inUpperCase ... then follow this with one of your names in LowerCase. But for fun and better chance at not getting the same word every time you need inspiration I suggest you just hit different keys and then look at the line of glyphs ;)
Just remember: use UpperCase to write the first part of this word, the LowerCase to write the other part of the word. Look at the [second or] fourth and the [penultimate or] third before last letter of your 'word'.
The UC will give you an 'image'. Your font will transmit the meaning illustrated by this letter (in the widest sense).
The LC gives the type of look your font should have. You now have 2 guides/ideas/starting points which influence the kind of font you make.
Remember that the UC should make you look at concepts, invisible messages and your own experience or lack of 'ken', as well as the visible things in the images I drew.
To express that differently:
Your font design is guided by a main theme (based on the UC) and a way to present it/a style of expression (based on the LC).The font will be influenced a little or a lot by each UC 'image'; you adjust the look of your font according to the "feeling"/a memory/a dream or wish/an experience/lack of familiarity that you have about what that which my playful pixel illustration represents.
The presentation of the font, the style, how the eye slides across to absorb information or spends time to investigate the beauty or quality of every glyph, is determined by the LC. Combine these two aspects from UC and LC, that"s what your font will convey through the shapes of th glyphs.
In my 'comment' below I give you a few ideas of what could be linked to each of the UC letters; it's up to your areas of study, experience, interest, and the time you want to use for designing and building your fonts, which -if any- of the proposed words and concepts I mention will be the one(s) you want to combine with the type of presentation you found in the LC letter.
Choose a good name for your font, it's probably a good idea to have a name that isn't the keyword I gave in the UC list -- I can imagine that those key words have long been taken by font designers for their fonts.
Note: the "INSPIRED FONT" is still in development; when I have more illustrations for objects, situations, feelings etc or styles of presentation (I am open to suggestions!) I will try to find a suitable design to add to the glyphs as there are still a few empty slots in the Basic Latin set ;)
..:*:.. Have fun ..:*:..
Part of my "1 of the month" series of fonts I designed to welcome new months.
The "1st of a month" group was a fun idea but I found it a little complicated to do as I don't usually build several different fonts concurrently (ghosting happens too easily).
This font could be used to make tree decorations, gift tags, glass markers, place cards/napkin cards, etc. Just print on sturdy paper in large size and then cut out. Use pale grey ink if you want to decorate this paper base with collage, embroidery/stitching type work; print in coloured inks for a jazzy look which you enhance with dots of glitter glue or sparkly rhinestones. For a hanging decoration thread a length of yarn through the top 'rectangle' or you remove the rectangle's center to thread ribbon through it.
For some different fun you could glue your print on card stock and create greeting cards, jewellry pendants, shoe decorations. With a brooch back it could make a decoration of clothing, gift bags, hats.
Have fun, joyous December dear fellow FontStructivists :) :) :)
A while ago I designed the Circe family; it is quite elegant and fine. This new version, based on Circe1, has thicker lines without being bold. This meant changing a few letter shapes and lines. While it can be used with the others I would discourage mixing the normal weight versions with this one due to the structural changes to many letters.
This is a cloneTall and chunky decorative set of useful glyphs ... All letters are UC with the LC set having the thick vertical on the right. Has the same width as Changle N and Changle L so it can be used to increase visual impact of a text written with Changle.
This is a clone of Changle NChunky decorative basic set of useful glyphs. It has the same width as the other Changle fonts so it can be used with them for more visual impact. Changle consists of UC letters only, on the LC position are the UC with the thick vertical on the right.
I love the traditional French biscuits made on the French west coast where Loire meets Atlantic.
The biscuits are thin, crunchy, light, not too large, not very sweet, melt on the tongue, and biscuits very like the original can be made/baked quite easily.
The traditional version has a limited range of letters, enough to write the name of town, manufacturer and product. I've been unsuccessful in finding an image of the font which contributed just a few letters to decorate these biscuits.
I spent some time looking at other type of the Victorian/Art Nouveau era until I had collected enough information to help me design the missing letters. I added the French diacritics, naturally. I think my additions look successful and the whole font looks quite Art Neauveau and in the style used originally.
The square brackets [ and ] make a biscuit shape when used 'blank'.
Bon appetit, enjoy your "Biscuit de l'Ouest".
This is a clone of Petit Biscuit