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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
Strictly 8x16/8x8 monospaced arcade-style font inspired by Old Church Slavonic manuscripts and Cyrillic vyaz majuscules. Designed for all-lowercase body text with occasional all-caps headers, as in historical manuscripts- but works well with mixed caps.
500+ glyphs, including extensive support for accented Latin letters, world currency symbols, and custom Roman numerals, along with assorted dingbats and multiocular O scribal glyphs used in Old Church Slavonic in text referencing eyes.
Support for majuscule punctuation, more non-Latin scripts, and more extended Latin & dingbats possibly upcoming.
If you know any of the non-Latin scripts included, please let me know of any gaps/accuracy or legibility issues!
Changelog:
1.3.0 - Now with (basic) Greek support!
1.3.1 - Finished punctuation, archaic, & diacritical Greek glyphs
1.4.0 - Russian/Ukranian Cyrillic support + small dingbat additions
1.4.1 - Most Early Cyrillic glyphs added
1.4.2 - Old Church Slavonic support should be finished
Armenian support in progress...
To-do:
Bulgarian/Macedonian/etc. Cyrillic support
Armenian, Georgian, Coptic support
African, Cherokee, and Canadian Aboriginal script support
Hebrew support
Emil has a sympatic character, even if he has his little edges and corners. Nevertheless, Emil is not too eccentric. It' s possible to work with him and maybe Emil will go one step further towards italics...?
This font was created around the theme of repetition, it was inspired by Art Deco design and how repetition and pattern aren't just pointless ornaments but fundamental to the structure of the font. I have been able to reach this stage after 5 weeks of continuous development, sketching and experimentation which I focused around trying to create a bridge between 2D and 3D fonts. Built up of a single repeated component this font is not suitable or made for large amounts of text, but instead has been created to highlight the strength and complexity of each individual letter. http://oliver-james-town.blogspot.co.uk
Decorative or Cyrcus font? Just a simple font with Cyrillic. Track changes (short slider) for connecting letters. Bala is the first part of the word balalaika and Balagan, an early Russian cyrcus or an open-air theater (https://ru.wikipedia.org/wiki/%D0%91%D0%B0%D0%BB%D0%B0%D0% B3% D0% B0% D0% BD)
See more: zylone 0,6 EYE / FS
http://www.psyops.com/crucible/
https://fontstruct.com/fontstructions/show/479802/effigy
TSA
I created this typeface around the theme of gregarious, focusing on gregarious plants. I started with drawing the letterforms in ink using a rolled up leaf. The results were twig-like marks which reminded me of the illustrations from 'A Monster Calls' so I developed the letters thinking how they could work alongside this or another story. The name 'This Wild Earth' is taken from the book and I think reflects the scratchy and bold feel of the typeface.
Fun inspiration. I might add some alternates if I feel the need;) but as it has taken me this long to add occasional glyphs adapted from my own unpublished collection I suggest you sit back and find your own muse to invade your mind, encouraging you to add more glyphs and share with us your own versions of this style, based on your own unpublished and experimental fonts.
This font was created and used as a cookie cutter in the process of developing the connect the bots typeface.
---connect the bots---
Inspired by electronic circuitry, combined with a retro flavour in the structure of the letterforms, this display font is well suited to any computer / electronics or technology related application.
The word ‘systematic’ was taken as a starting point for development, and led me to draw upon a personal interest in the inner workings of electronics. The ordered chaos of all the connections running hither and thither is extraordinarily beautiful.
This is a clone of connect the bots