Seeing Beate's gorgeous octagonal font I felt inspired by the shape and those delicious corners. I wish I knew how to be as inventive as she is.
The current month seems to hold a meaning of threads: of fog, dew covered spiders' webs, barely-there things, feint perceptions defying scientific understanding and fine links with ancestors, to keep us in the present and enable open minds and caring souls to better the future. This abstract interpretation of Halloween has been designed to echo the traditionally mysterious mood to show the past (known glyphs, earlier FS bricks) linked in the present (on paper, in the FS previews, and using some of Meek's newest bricks I experiment with in this design) to create future (text will carry meaning to the reader, diversity of thought not experienced until after every glyph is finished, and beauty of text flow is visible only after it has been written). Totally within my personal plan for Night Pegasus' work: adventurous, alternative, divergent, different, exploring, experimental, unusual -- after all, the flying horse is free to visit any time any item or existence in this universe and any place in Fontstruct, to discover and weigh possibilities, to create its future from the past in it's present body and mind, and it does this cloaked in black as deepest night, undiscovered unless someone has their feelers tuned into mystery and taps into experiences of presence.
:.:.:.: Information to help you when using this font :.:.:.:
If a LC glyph follows a UC glyph: you need to use the space bar 6X to get the correct letter space (it will then match the natural spacing between LC); using only LC glyphs (or only UC glyphs) will give satisfactory text results as letter space is set by the programming. But you'll need to manually add the word space you want: between UC (or LC) words a minimum of 3 space taps for a just visible gap, use the space bar 6x for good spacing. Experiment!
Note: the full stop and comma have a line on the baseline to link with UC. There might be no need for a 'space' after those two marks even on LC? The apostrophy has a short line to link it to previous/following UC glyphs (note those link lines retain the meaning of the glyph when used with LC glyphs or an LC following an UC glyph).
SPACE BAR = a 1px space; tap 3x to get a small word space that's obvious
% key = a set of reasonably wide lines to match upper case verticals
_underscore = a space consisting of a long single line on base line only
I'm trying to figure out some diacritics before the 31st so this remains WIP
LC 2 px high, 9 px wide. LC are 8 high 9 wide except for glyphs with a curved base which are half a pixel below what might be expected. Numbers have varying heights
Another example of glyphs acting as the counter in a space, and this space filling the usual "glyph's white space" in the way the counters were described for the competition.
This might be called a "negative counter" design. Alternative 'Y' is on 'y'. Countercomp entry 2.
Second and probably last entry for the serif comp, I've run out of ideas (already).
At last it's possible to have a serif on every glyph used!
Reading forum comments I know that there are fonts using 1single brick in over 14k glyph places. As I believe that one font of the type described above is enough for FontStruct I decided to not add another pack of samesame ... But I wanted to discover if there is satisfaction in such an activity, if spending a lot of time ignoring my family and home life gives a valuable important result. Strangely I found the exercise irritating and entirely unsatisfactory, a waste of time, effort, ressources. I admit that looking busy in FS for an hour or so got me out of doing unpleasant work at home.
Having spent all that time it seemed logical to offer Codélire (feel free to understand this name as you think appropriate to your way of life) to you my appreciated reader-of-font-description. There is no warranty nor promise included with this font by-the-way.
What puzzled me?
Some of our members make vitriolic comments under fonts with visually unusual or even 'undecipherable' strangely-shaped glyphs. It amazes me every time I read such criticism under a font that isn't for a conlang
Where's the difference? Is it just the tag that makes a font useful (ex.for a conlang) or deserving disdain and thoughtlessness? Looking at the pure visuals of these two types of font I opine that comments should be made justly. Why accept some fonts with this kind of visual and deny the right to exist peacefully to others with the same look is beyond me. Strange that both look the same but only one type is useless, a waste of time to download and that it was a waste of time to make in the first place, isn't a real font, isn't legible, or that the glyphs need tidying up to conform to some image of what a letter/numeral/punctuation mark/symbol should look like to be legible.
Strange that these 'non-constructed' 14k+ fonts mentioned at the beginning of this "description" passage aren't subjected to the same unkind words. To me they are even less 'legible' than fonts for conlangs, fonts with phantasy 'contents' as glyphs and beginners' trial/exercise designs. I wonder why those "different" looking non-conlang fonts should have less right to exist or be appreciated for their beauty and expressiveness, why they are seen as less valid and valuable than the so-called "code-fonts" using a single-brick, and the many conlang and phantasy fonts.
Which one of those FS members well-known for comments as described above, knows what they are doing and why when they comment on fonts they don't (want to) understand; who among them has the ability, conscience, awareness and/or knowledge to explain this discrepancy to me?
I expect I'll be disappointed.
Made for fun, I wanted glyphs with the look of 'construction' to write a name on a gift tag. Even though it looks simple like a child's work it required 25 minutes and several half-saves plus time to restart the computer after an annoying browser crash. This design will end up in my collection of pixel brick work.
This had the look of the original reverse-comp entry. Then the save ignored me, as you can see. Another of my basic fonts died in silence.
Thinking about an easy and fast-to-do holiday activity for my rather young grandsons I started making basic majuscules to colour in and cut out, inspired by some fonts in the recent reversecomp. Update: grandsons loved the idea and had great fun colouring the white areas and gluing small decorations in addition.
Taking the idea of "reverse" to a heady level of crazy ;) It's based on 'Solstice Wege'.
I know it's the clone of the WEGE version but it still took some time to flipand/reverse parts of each glyph to obtain an interesting visual without having something hopelessly messy ... I enjoyed flipping and reversing to deconstruct the original to get a disrupted look while maintaining aesthetics.3rd entry for the reversecompThis is a clone of n8 Solstice Wege
Here you can see my headache relating to composites for the new bricks. The 4-way link shows that our present 16 brick limit for composites is insufficient if we want precision joins. I discovered this also with the 1 and 3 linebricks. I wonder how Meek managed to create the bricks ;)
This is the 'positive' version to the 'negative design' n8 Solstice versions and shows that the boxy look seen there is softened through curves and airy lines. There is a lot of charme and elegance in the glyphs. The Q, Z and 2 gave me so many problems in the parent font, here we see why; I think I succeeded using the decorated boxes I introduced in the parent font, to create interesting slanted lines in some glyphs that can have tricky slants. This isn't for the reversecomp even though I made it after the Solstice versions white-on-black.This is a clone of n8 Solstice Wege
I had thought of making this my 2nd competition entry but while it's attractive it lacks something.
It shows all horizontal and vertical lines that weren't placed in its parent font "n8 Solstice noir". But the font itself still uses white cut-outs in a a black rectangle.
Somehow this presentation reminds me of a lino print, stencil, photographic negative.
The original font didn't disturb me, this design however kept nagging me, wanting to get out as a positive. I couldn't resist this demand and turned its clone into the usual black-on-white presentation 'Solstice Day'This is a clone
I decided that turning a "usual black-on-white" font would be a good way to reverse a font; hence some glyphs are easier to understand than others. I think that artistic minds will enjoy the graphic feel of the quirkiness :)
For some a certain type of (future) text I'll use some of the more abstract looking glyphs as decorative inserts and frames.
The font's name is taken from The Emerald Tablet.
My first ever font! It's based on cooking stew over an open fire. My family and most of my friends have comfortable gardens and sometimes there are days when a barbecue isn't the most desirable outdoor meal. It took a while to design a cauldron that could hold a capital and upper case letters and numbers that were to look organic took over 3 hours to produce. Being tired I made the lower case letters etc. in only èà minutes; I designed them to look like straggly thin wooden sticks to make into small letters etc.
My second font of this day. More elaborate and less decorative, but useful for invitations that look like printed with a strange dot matrix printer. So far I've enjoyed using Fontstruct and I'm sure I'll continue this unusual a creative work to make something useful and attractive for everybody who likes to have a choice of fonts on their computer.
This design looks chunky and earthy, as if poked into damp soil with the end of a broken branch.
*Just waving to my friends whose carefully managed wild garden allowed peaceful walks and discovery of nature and self, followed by great food, long discussions and fabulous music* This font was inspired by what I saw in your gardens you worked hard to make look as-wild-as-nature-grows-without-human-interference. I'll add necessary glyphs with diacritics should my friends and families ask for them.