I joined Fontstruct to get special fonts for greeting cards I made. Over the years I have learned a lot from seeing the incredible variety of fonts created by members who are using just simple bricks, artistic experiments and a lot of patience; when cloning is allowed I can see and understand fine details to help me develop further, increase my confidence and stimulate my imagination.
I love to design and make fonts for family, friends, for special occasions, and to replace some of those more 'usual' basic fonts on my computer :)
Fontstructing since | 15th July, 2011 |
Fontstructions | 299 shared, 21 staff picks |
Shared Glyphs | 39211 |
Downloads | 3498 downloads made of this designer’s work |
Comments Made | 2830 |
When my mother was young (and specially after my birth) she supplemented the family's income from home by typing for students and businesses. When I was a student I used the same machine for my assignments, lesson plans and thesis. The years were not kind to the machine, the mechanics rusted or broke, the letters worn with frayed edges or disintegrating serifs and fine lines. Ruth's typewriter is a declaration of my appreciation of many years of service the brave little machine gave... As you can see I clearly didn't get the letters repaired ;) The font looks like I rearranged and glued down what was left of the raised surfaces, to continue using the typewriter and give my words a very modern look ;)) A "grunge-writer" ?? Did you notice that no typewriters were ever sold with this kind of modern destructured typefaces?! ;)
Since I started this font many years ago (Ruth was very amused and appreciated this hommage) this work has now become a memorial to her
A more 'normal' type of university font, familiar, safe, with only few quirks, and as complete as I want it until summer. All letters are on Lower Case. Alternative "s" is on "S". No kerning.
This is a clone of Me-Knee-Verse-ETThis 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.
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 cloneNot 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 MelusineUpgraded version of Aenvidere (which is the original 'normal weight' version) made for one of my grandsons. The glyphs in this version have lines of different thicknesses which seems to make them and any text more interesting to look at, yet it continues to be elegant.
Numerals are taller than other glyphs, I wonder if a larger letter space might 'integrate' them more when used in a line of text?
Kerning has been done where necessary = on very few pairs: T+some LCs and F+some LCs but not yet on T and F with the corresponding diacritics; also done are TJ and LT. The "f" has been moved in the grid, and "f" and "l" have adjusted letter space. I think that the shape of the glyphs (with and without adjusting their positions/letter space) reduces greatly the need for kerning. Having said all that I'll print some text to check and will adjust kerning where necessary ---at a later date.
This is the most advanced version of Aenvidere (due to kerning), the other published versions will be kerned at a later date. I'm showing them nevertheless so that you can compare versions.
This is a clone of AenvidereThicker 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 StiloAenvidere (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.
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 cloneFor 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 clone@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.
The painting in the sampler is from Wikimedia: the "Villa Petraia". I'll add more diacritics when I know which language(s) my friends want to see supported.
This is a cloneIdeal 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.
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 1One of those strange designs that sit in my note pad for ages and suddenly decides to become useful :)
Made for German texts.This means that it will also do English texts ;) In fact it will work for all languages that use the Latin set of letters, numerals, punctuation and symbols in text -- as long as no diacritics and other national specifics are desired.
This is a cloneI 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 RaysanInspired by dpla's comment about an animation showing the transformation of a standard font into the shattered look of "Bruch 01". Such animation will be easier to comprehend if the non-Bruch design is reasonably close to the Bruch design; however the transformations won't be spectacular ;)
Although rather 'basic' this design would work well for such a presentation. Sadly I don't have an animation program to show this.
This is a clone of Bruch 01inspired by old computer fonts
This is a clone of Gamaeo reglrReverse in the visual context can mean many things. I decided to create letters and mirrored them, attaching them to a spine.The letters looked like filigree jewellery pendants.
I know that the I , T and W don't follow the design rule; I tried to align them on a spine but the result was unsatisfactory.
This is a cloneListening to cricket matches I saw a lot of trajectories in my mind when commentators discussed the balls' flight paths and where they landed, of some incredible bowling.
What a great inspiration for my first entry for the ReverseComp.
Maximum rectangle size is 16x20. The LC contains the flipped reversed UC.
I see many white-in-black designs coming in, I'm adding to them as we don't see this type very often ;)
I think that I managed to give the "impression" of those occasional graphics displayed in cricket, football, tennis and other ball-based sports (it might be hawk-eye linked) that show where balls have originated from or to predict/illustrate their continuation.
A blank space is on the underscore, a filled space on the space bar.
Numerals and very basic punctuation are done :)
A bit of artistic flying ;) This design would have benefitted from the original 8x8 composite possibility but 5x5 or 4x6 would have worked, too. Done as far as I need it for normal communication in modern English.
A much blacker Raysan version. I wanted to name it "Raysan Chunky" but " Raysan No-arr" is way quirkier :D.
This is a clone of Raysan Black