Published: 15th March, 2014
Last edited: 15th March, 2014
Created: 17th February, 2014
Gothic Thorn is a typeface inspired by gothic architecture, specifically cathedrals. It is intended to be used at large point sizes. It has rounded letterforms, combined with sharp, pointed edges. Gothic Thorn is a Tuscan typeface that is reminiscent of pointed arches, ribbed vaulting, and flying buttresses. The letterforms are also evocative of the thorns on roses.
Published: 24th November, 2012
Last edited: 13th December, 2012
Created: 23rd November, 2012
My mom's knitting a sweater for my nephew who's 4 and just a tad crazy about letters and numbers (it might be a family thing). She needed letter patterns. So...
Published: 3rd September, 2011
Last edited: 14th September, 2011
Created: 10th February, 2010
This fontstruction was started a long time ago. Yesterday, being bored (or something), I randomly clicked on page 7 of My FontStructions and found this. Being bored (or something), I clicked Edit.
Back in February 2010, I was able to take this fs only so far and came to a halt owing to geometry and FontStructor limitations. Those limitations, for the most part, seemed to have disappeared in the intervening time. I must've felt encouraged as I've been working on this fs all day today. As it turns out, when you work on something long enough, something will emerge. Et voilà. (I jest. ;)
Oh the soap box syndrome!
Visual aesthetics require two elements, namely, art and design. Let's examine each, shall we, the better to understand whence this came from and to what purpose.
Art has as many meanings as there are people giving them. For me, art is that visual that appeals to one, the stress being on 'one', and serves no practical purpose. Design, on the other hand, by definition*, must serve some purpose, must be reasonably attractive to those for who it is intended, and must stay within the limitation (whether explicit or implicit) of all that is (or will be) involved.
This and every other fontstruction, being visual in nature, has an element of art in it. Keeping the above art definition in mind, and as far as this fs is concerned, the art was my personal aspiration to try to do a diagonal stem of the A and the M and have the rest of the letters in such formation so that they fit like a glove with the A and M (without any effort on the user's part — but that jumps ahead to design). The February 2010 version of the FontStructor allowed me to achieve that very well. The art part was a start (yes, sorry, I couldn't resist the rhyme).
In my experience, any visual thing, no matter how simple or complex; no matter how involved or not; how unique or generic; how &c. and &c. may be termed art as if any one person appreciates it, it is art, albeit to that person only. So, I am satisfied how this fs looks, so the art is done. Also as per my personal experience, design is a much harder, difficult, involved element of getting something done right that also requires appropriate technical know-how to see it to fruition. The February 2010 version of the FontStructor did not allow the 'fit like a glove without user intervention' part. This morning when I started working on this fs, the September 2011 version of the FontStructor allowed me to do almost all that I wanted it to. (I say 'almost' because there were one or two custom bricks I required that I was unable to achieve, quite possibly due to my own inability).
The design confine [—if art gets a rhyme, so shall design—], with every letter overlapping just so, required quite a lot of geometric manipulation (not particularly apparent) to make sure any two letters fitted in properly. It got tedious quick fast in-a-hurry typing out manual kerning pairs (AM, ST, &c.). I had to type out all kerning pairs (AB, AC…RI, RJ, RK…SM, SN, SO…VS, VT, VY…ZZ…&c.) in Word (utilizing handy Replace functionality to speed kerning pair creation) and test every possible pair (even ones that are likely never to be used in reality—QK, for instance).
This being a design exercise, there had to be a purpose. My thinking was, staying within the limitations created by the art part, the font should work as an instant logo delivery system. Type a word in fs Instant—and, hey presto!, Logo (a gogo). It’s up to you to decide if I succeeded.
It looks quite simple, and in the end, it was, though getting to the end was anything but. This font appears as a clone of ookii because that's where I started it, thinking I'll just add the shadows. Getting the shadows to look natural and line up properly in every character was a geometric challenge. I ended up redrawing the whole thing three times over--in incremental step up of scale before getting it right. I love doing fonts like this one.This is a clone
Published: 7th October, 2008
Last edited: 12th June, 2009
Created: 30th September, 2008
I really like the way this one turned out. It uses minimal grid blocks to achieve the desired effect (although at ~2x2 and the slivers and the pinhole dots, there are a surprisingly large number of actual bricks used per glyph than evident at a quick glance, although not a single overlapping brick is used without express purpose). I think this is my favorite of all the ones I've done so far. It is with nervous anticipation that I let it free. Go forth and propagate, young font; it's You v World!