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Black Duck is a typeface that is inspired from modern-blackletter typeface and duck characteristics combined. Duck meat's crispiness and strong taste, and the duck figure itself are the main characters inserted in the making of this typeface. The slanted figure shows its timeless and versatile characteristics.
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
This font was designed around the theme word Elegant. I was inspired to create a typeface that was ornate and palatial; it is a ode to Baroque design.
I have tried to emulate columns for the body of the font and created a crowned frieze for some of the letters with decorative toppers for the remaining characters.
Diamundi is a very simple but funny patterned decorative typeface design that mimics facets(flat faces on a geometric shape).
And for that everyone that is checking this, please make sure you zoom in max. to see whats really going on, Even beter, make sure you've seen the sample image bellow, because the Fontstruct preview is total garbage due to my use of composite bricks at this grids tiny size.
Enjoy!
Working under the theme of 'Rebirth', I have focused my first font on the idea of post-war architecture, or otherwise commonly known as modernist/brutalist architecture. Buildings constructed following the Second World War were built using new technologies of construction. These types of designs were known for their use of modern materials such as concrete and steel as well as their interesting geometrical forms. I was heavily influenced by the architecture featured in Owen Hopkins' book 'Lost Futures' which looks at the disappearing architecture of post-war Britain and how changing external contexts played a role in the subsequent destruction of these buildings.
A blackletter font charted from historic French cross stitch book Maison Sajou Miniature Album no. 6. The J and W have been added (at least, I think the letter in the original was an I, so I made a J to match). The spacing of the white dots and the top left flourishes on most of the letters are weirdly inconsistent.
The pattern was found at http://patternmakercharts.blogspot.com/2009/12/sajou-no-6.html
WIP
See more:
https://www.fontstruct.com/fontstructions/show/1720896/goldie-2
https://fontstruct.com/fontstructions/show/1411844/fs-quickconnect
https://fontstruct.com/fontstructions/show/1419531/disco-everyday-value
https://fontstruct.com/fontstructions/show/1410025/neoline
https://fontstruct.com/fontstructions/show/1418818/crocosmia
https://www.fontstruct.com/fontstructions/show/1669601/funkytown-plain-1
https://fontstruct.com/fontstructions/show/1762037/lotline
Weaving Score is a decorative font for musical notation. You can make ornamental musical scores with this font. The correspondence of notation and keys are shown below. You can download the HD image from this link: https://www.dropbox.com/sh/j85c5253qh644or/AADN8-pft-lH2IF3GYiYEduga?dl=0
Home blends contemporary sans-serif characters, created using negative space, with ornate mosaic patterns to form a decorative display font in the style of kitchen tiles. Each character is unique - set against four identical patterned tiles. This typeface is very versatile and functional insofar as that it has the potential to be used in a variety of diverse settings such as magazine article headings, pottery and ceramic prints, wall-hangings and shop signage.
First there is a flourish, in which the beauty of progression is materialised through growth. Followed by distortion and an imminent spoil - I was inspired by this cyclic process.
Angles cant quite define this typeface, so 'Spoiler' as a decorative font chooses to ignore certain standardisation rules; each letter tries to recoil back into what came before.
The lettering, as I discovered through paper manipulation and layering, works organically off screen, for collage and mixed media poster design.
The word 'Messy' led me to consider my personal habits, especially my hair. Through exploring my own photography of hair arranged to form basic letter structures, I considered texture, shape and tone. Further research and discussion introduced a resmblance with 'Black Letter' type ie. thickness in line. Therefore, I combine hair aspects with the traditional typeface. I believe my creation successfully modified the well known font by introducing more complex curves while still acknowledging the original theme.
Display font. Built on the basis of a module: a pair of leaves. If you count the number of leaves in a letter, you get a lot, and if you count the number of leaves in words, you get a whole forest. Therefore, the font is called "Forest".
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52 characters for the basic Latin set, 10 numerals, 36 punctuation characters, 66 characters for the Russian language set
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Please let me know what do you think :)
My first fontstruction was inspired by Eastern Art at the Bristol Museum and Art Gallery. I loved the dragon decoration on the old ceramic pots in this section and have tried to portray a similar theme in my letters. (work in progress)