Solace in Geometry

by Frodo7
Cloned from Quasiperiodic Tiling 3 by Frodo7.

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Comment by Frodo7 Tue, 7th may

This looks great, remotely reminds me of the sheets with numbers for the ophthalmologist's color sensitivity test

Comment by Peter (Petruuccio) Tue, 7th may

Incredible tessellation; beautiful numbers. I'm awestruck. 

Comment by thalamic Tue, 7th may
Comment by elmoyenique Tue, 7th may

I always say that the best part of an FS Comp happens in the last few days! Congratulations, Maestro!

Comment by elmoyenique Tue, 7th may

Beautiful numberforms lifted from irregular tesselation, impressive!

Comment by four Tue, 7th may

Dear Rob,

Changing the rules in the middle of the competition is terribly unfair. It renders the whole event uncertain. What comes next: imposing a 48-brick height limit or changing the deadline? When you announce a competition next time, please add the following: All rules are temporary and may change with or without notice.

Since when was it unfair to have color fonts in the competition? Last time, six color fonts competed in the HeavyComp in 2022.

All users can make color fonts, but the colorblind. The FS Patron program is open to every member. Yes, it costs money but it gives you better tools in return. Nobody is excluded. What would you do if you volunteered to fight in an armed conflict: get the best gear you can afford or have just freebies? I would buy the best special gear within my budget.

FS members can afford to spend a little money if they value having Fontstruct. Most members own a laptop or other personal computer and have regular internet access. I presume they even own a smartphone. Most of them live in solid brick houses with electricity and running water. They are not poor people like the ones in Africa.

It is my two cents.

Please reconsider your decision.

Respectfully, Tibor

Comment by Frodo7 Tue, 7th may

Ok, that is actually going to win. Like I don't gave a fudge that it is a coloured font, that is going to win! 

Comment by WBK 568 (Harris Amalasekar) Tue, 7th may

@Meek - As a humble suggestion of compromise, instead of removing FS Patron color fonts from consideration for the competition, perhaps you could add a new separate "color category" for judging?  (Whew! That's a lot of "c" words!)

Comment by Goatmeal Tue, 7th may

To be honest, I thought we’d had this rule in previous competitions, but seemingly not. Let me think about it some more.

Comment by Rob Meek (meek) Tue, 7th may

I’ve removed the notice from the live feed for now.

Comment by Rob Meek (meek) Tue, 7th may

How would you feel about @goatmeal’s suggestion @Frodo7?

Comment by Rob Meek (meek) Tue, 7th may

A very beautiful mosaic font. I hope you don't think that you made the font in vain, the existence of such a beautiful font is already a gift. Whatever decision Meek makes.

Perhaps he really shouldn't change the rules at the end of the competition. It is worth considering the originality of the idea, and not so much the method of creation, so color fonts may well compete with the rest. Perhaps, yes, there are more opportunities for new ideas with the possibilities of color fonts and this makes it somewhat difficult to judge fairly. But you can just take this into account in the judging, and not exclude the font completely. Moreover, a mosaic or op-art font could be made using only black bricks too. So I think the exclusion of this font is also not particularly fair, especially since not only does he have the opportunity to create color fonts for the competition, but also other participants, even though they chose not to do so.

Personally, I have problems paying for the patronage subscription now (PayPal does not work in Russia, I hope you understand why, and this is not my will), and I do not even want the first place at all, since I do not have the hardware for the prize software (I'm sure I'm not the only one). Therefore, should I not participate and remove fonts from participation or not? I would have participated without prizes, but wouldn't you? Let's not turn just a game and a friendly competition into a race for prizes, I always thought that prizes were not the main thing, fonts and original ideas themselves are of great value to me.

Comment by Dmitriy Sychiov (Sychoff) Tue, 7th may

@Rob Meek: Thank you. The best you can do is run this competition as is and, if necessary, make changes for the next one. You can't alter the rules and conditions after the competition has started. It's like moving the goalpost.

@Goatmeal: Having one or just a few entries in a separate color font category wouldn't be much competition, would it? It sounds like segregation and color discrimination.

Comment by Frodo7 Tue, 7th may


you had done the equivalent of messing the competition up.

i'll retire from the comp.

Comment by lucapri Tue, 7th may

@Frodo7 - Sadly it goes both ways, as others might feel like it's color discrimination for NOT being FS Patrons, for NOT having access to the tools that come with being a paying member and being at disadvantage.  Perhaps it will entice others to become FS Patrons?  Maybe, maybe not...

I was simply trying to come up with an amicable solution. And this is speaking as someone who has never participated in a FS contest, except for the honor of being a judge once several years ago.

Like @Dmitriy, I alse enjoy the creativity of my fellow FontStructors in these contests, but am indifferent as to whether anyone "wins" or not; it's the entries themselves that are the true prizes for all of us.  :^)

Comment by Goatmeal Tue, 7th may

@Peter (Petruuccio): Thank you for your comment. Petruchio from Verona was quite a character in Shakespeare's play. You are talking about the Ishihara color blindness test. Those numbers are hidden in a sea of color dots. My numbers are delineated and easily recognized in greyscale, too.

@thalamic: Thank you for your comment. I used the same quasiperiodic tiling I made in 2015. The sole purpose of creating that pattern was to design a font with it. This concept has been on my mind for a very long time. It takes a competition to collect myself and work for several days on a complex project like this. 

@elmoyenique and four: Thank you for your comments and generous ratings. I'm grateful for your support.

@WBK 568 (Harris Amalasekar): It is not wise to say that prematurely. Let's wait and see what the judges have to say.

Comment by Frodo7 Tue, 7th may

@meek Speaking of color fonts, I wonder if there's an ETA on the feature being available to all?

Comment by Bryndan W. Meyerholt (BWM) Tue, 7th may

I remember the interest and concern of a fontstructor about the first font published for the Comp was not considered a "color font" and that no other patron has submitted a colour work will be enough to me to consider this kind of fonts should not be admitted (sorry, IMHO). But the colour fonts was accepted on other FSs Competitions and it must be know that presenting this type of FS was not explicitly forbiden in the breafing of this Comp. All this requires a Solomonic decision, you know. My point: to accept the colour fonts and establish a "Outstanding Last Minute Jewelry" category (or similar) in the awards.

Comment by elmoyenique Tue, 7th may

@Goatmeal: I disagree with your assertion that not everybody has access to the color/layer feature. Let me ask this: do you have access to public transport? You have to pay for the tickets. Nothing is free in this world. At the end of the day, somebody has to pay the bills.

Comment by Frodo7 Tue, 7th may

Thanks for your input everyone.
I expect there will be some more colour entries later. I think several came in late last time.
So colour entries will be accepted. Colour entries will be considered for prizes.
I do think there is some small unfairness in certain users having access to the additional possibilities of using colour, but the judges will take that into account. Nobody should feel bad about using colour or about not having access to colour.
I think colour fonts will remain a patron-only feature for the foreseeable future, as it does encourage some people to subscribe and that in turn helps support the platform.
Maybe we can do a colour competition next time around and give all FontStructors access to colour fonts for that.

Comment by Rob Meek (meek) Tue, 7th may

@Rob Meek: I have a solution for the next competition. Having separate categories would fragment the competition. How about granting everybody access to all features for, say, 20 days? It would be like a free trial period. That would eliminate the difference between members and serve as the best advertisement to recruit more patrons.

Comment by Frodo7 Tue, 7th may

ooh that's a weird idea but good on

Comment by digitalio-2 Tue, 7th may

@Frodo7 - Everyone has the OPPORTUNITY for access to the color/layer feature... but only if they pay; if they don't pay, there's no access.  It's not like people are using the color option for free without paying for it (unless there's some cloning bug).

Some people cannot afford to pay for patronage (especially in this economy), some are not able due to geography/nationality restrictions, and others simply choose to spend their money on different things and other obligations.  FS Patronage is a LUXURY that comes with PERKS, and I say that as a FS Patron.  It is no different than people paying for microtransactions in a video game to have a different gameplay experience (better equipment, better stats/more experience points, saving time, etc.).

As to your public transportation analogy, not everyone uses it. Suppose there is a 10 km race. As everyone else takes their position at the starting line, you instead pay for a ticket and get on a bus.  The race begins!  Fifteen minutes later, you step off the bus at the finish line -- a new world record! -- while everyone running the race else is barely past the 3 km mark...

Comment by Goatmeal Tue, 7th may

@Frodo7 - That being said, you have an absolutely outstanding design here, and one of which you should be proud.  The thoughtful design and precise execution showcases your talents as a designer.  I hesitate to think of the time and effort spent on this one!  ;^)

Comment by Goatmeal Tue, 7th may

there's a solution:

remove FS patreons

Comment by digitalio-2 Tue, 7th may

@digitalio-2 - Nope, they are FS users, too.  Or do you mean removing the Patrons system in general because you want access to the colors but don't want to pay?

Comment by Goatmeal Tue, 7th may

@Goatmeal: Thank you for your comments. It's nice to have smart people around who respond to arguments with counterarguments. I think you have made your point: not everybody can afford to be a patron. Frankly, I never thought it was an issue. Tough economic times! To be a patron is a small luxury, indeed. Yet, these kinds of luxuries make life tolerable, enjoyable, and worth living.

Thank you for your latest comment about my design. I have a story to tell about this particular project. I'd like to share the details of how this color font was made after the dust settled.

Comment by Frodo7 Tue, 7th may

Thanks! I would love to know about that story! To know about octagonal lace that mixes Escher and The Alhambra, and Roman and Byzantine tesserae, all wrapped up in old arcana as if Corto Maltese were telling it from Samarkand! I think the dust has already settled, but I'm not the one who decides that... I'll sit and wait, I think it will be very worth it.

Comment by elmoyenique Tue, 7th may

(Ooops, sorry. I really think I'm asking a lot today.)

Comment by elmoyenique Tue, 7th may

@Frodo7 - My thanks to you as well.  I've been a fan of your amazing fonts for the past 15 years (we both joined within weeks of each other in 2009) as well as with your deep passion for design.  I'm looking forward to hearing the story behind this wonderful entry.  Cheers!  :^)

Comment by Goatmeal Tue, 7th may

@Goatmeal: Your example with public transport is not entirely correct, but in some cities it is free, in ours it is free for older people, for example. This world is unfair, not everyone is genetically able to participate in sports competitions, not everyone has equal opportunities from birth, if they were, no one would do cheap work or, conversely, have the motivation to improve themselves. While we strive for justice and equal opportunity, doing so completely is utopian. And even opportunities don’t decide everything; you need to have personal talents, knowledge, and spend time to be able to take advantage of these opportunities.
As you wrote in the last comment, @Frodo7 has talent and that is why he was able to implement this font, for me it matters. And just because this font is colored does not make it better than others, I think.
This is already turning out to be an interesting conversation about views on life, politics, and justice.

Comment by Dmitriy Sychiov (Sychoff) Tue, 7th may

@Dmitriy Sychiov - Thank you for the clarification.  I think a problem could arise that because one has access to tools that not everyone else does, there might be a perception of 'unfairness' for those who do not.  I can see @Frodo7's point ("Why should color fonts be disqualified?"), but I can also see what I interpret @Meek's intention was ("A level playing field with the tools that everyone can use.").

Please understand this has nothing to with talent, experience, hard work, design acument, etc. for any of the FontStructors participating.  A statue can be carved just as beautifully using a dull chisel and weak hammer as one made with sharp chisel and strong hammer; however, different tools might take the design in different directions, whereas the standard tools cannot. And rightly or wrongly, people will likely see entries with a variety of colors as having a some inherent advantage over those using the standard font palette.

Sadly, as with most things in life, there is never a simple or easy answer...

Comment by Goatmeal Tue, 7th may

@Dmitriy Sychiov (Sychoff): Thank you for your comment. I agree with you. There is more to font design than using colors: composition, harmony and balance, simplicity or complexity, sophistication, and more. In the case of Solace in Geometry, I can change the colors anytime. I can use shades of grey only, and it would remain the same font.

Something else. I didn’t know you stayed in Russia. Many emigrated to other countries, including Georgia, Kazakhstan, and Thailand. Have you realized the war in Ukraine may go on for many, many years, and both countries will pay a terrible price? After the war, Russia may never be the same again. You won’t have access to digital markets and services like bank transfers for a long time. You’ve got to work on your Plan B in case things turn bad. I wish you the best.

Comment by Frodo7 Wed, 8th may

@Frodo7: Please do tell about the story of how you come up with this! I'm seeing users coming up with great typefaces but I struggle at times to see it tied to the "numbers" theme. Perhaps it's just me that's not perceving their interpretation well, but I'd appreciate a work more when someone explains their creative rationale behind them. This isn't to say you must explain yourself, but it'd be nice to have some more context to your work.

Comment by faux_icing Wed, 8th may


I have always been fascinated by patterns. In the 1980s, I learned about aperiodic tilings and a famous example invented by Cambridge scientist Roger Penrose. There was an article in Scientific American about the Penrose tiles and their significance in other fields of science, such as crystallography. (We had a Hungarian edition of Sci. Am. back then.) I wanted to create my own beautiful patterns.

I started my font design career in 2003 without much success. Many, including my girlfriend, belittled and ridiculed it. Fontstruct has made a significant change in my design endeavors: It was easy to use, and a welcoming community gave me plenty of help and encouragement.

I made my first attempt to create a nice aperiodic tiling pattern in 2011 (retrospectively named Quasiperiodic Tiling 1). By then, I was experimenting with all sorts of patterns and their application to letters. I have managed to make the primitives: the thin and fat rhombus, as well as the tilted squares. Sadly, I couldn’t get any further due to Fontstruct’s technical limitations. The system couldn’t handle large-scale projects, and mine was to be super large. Other minor issues hindered my project: a few special bricks were unavailable. On FS Forum, I suggested including those bricks in the palette, which had support from DJ Nippa, but nothing happened.

In 2013, an Italian designer, Simone Mariano, successfully applied the Penrose tiling to letter/number forms and published his fantastic Kaos Display Font on Behance. I knew this was coming sooner or later. Whatever good idea I have, chances are someone else may have it, too. We all rely on the same hardware, the human brain, after all. I’m happy for his success.

Quasiperiodic Tiling 2 came in 2015. It was a simple pixel approach and a very exciting experiment (see the details here). I’ve got my tiling pattern, which looked organic, random, and aesthetically pleasing. Unfortunately, the technical problems kicked in again. To cover the whole Em Space, 1000x1000 bricks, a total of 1 million for a single glyph, would have been required. My final pattern was only 2/3 of that, and it made Fontstruct freeze many times.

The solution came in 2021 with the introduction of layers/colors. Using that new feature, I made Quasiperiodic Tiling 3 last December. I built the primitive shapes and a small patch of tiling. And here we are in May 2024. NumbersComp appeared to be the perfect opportunity for this project (limited scope: only ten digits are required; no vertical limit, and no mention of color fonts in the brief).

Comment by Frodo7 Wed, 8th may


i was trying to cut the problem from the source.

Comment by digitalio-2 Wed, 8th may

@digitalio-2 - But _is_ it a problem?  You'd be eliminating FS members who through no fault of their own chose to make a font with colors, and these are the FS members who directly support FontStruct with their patronage.  That doesn't sound fair to me...

Comment by Goatmeal Wed, 8th may

well then, make colour fonts accessible to anyone

Comment by digitalio-2 Wed, 8th may

@digitalio-2 - Well, that might be the intention for a future update, but for now, color access is the bonus/enticement/"reward" for people who can/do become FS Patrons (aside from supporting their favorite website).  Opening access to all might reduce FS Patronage; why pay if you can get it for free?...  See?  There is no easy answer.  :^(

Comment by Goatmeal Wed, 8th may

I'm sorry, folks. As promised, I posted a long text this afternoon at 02:06 PM, and now it's gone. Yet, it is still visible in the live stream.

Comment by Frodo7 Wed, 8th may


but still, anyone without fs patrons can still manipulate colour fonts:

copy · paste ·select

Comment by digitalio-2 Wed, 8th may

But the text in the live feed is very incomplete. Please, post it again.

Comment by elmoyenique Wed, 8th may

@digitalio-2 - Yes, that's the clone bug to which I was referring...

Comment by Goatmeal Wed, 8th may

I can't post it again. It has to be restored, or it's lost. It was a half day's work. It had references/hyperlinks to other fontstructions. I published two other works, and they are not visible. I can't communicate on this platform; it makes me look like a fool. I'm tired of this. 

Comment by Frodo7 Wed, 8th may

After 15 years of operation, this forum system is still buggy as hell.

Comment by Frodo7 Wed, 8th may

@Frodo7 They might not be visible in galleries because they might have fewer than ten glyphs.

Comment by Bryndan W. Meyerholt (BWM) Wed, 8th may

@Bryndan W. Meyerholt (BWM): Thank you. I've added more glyphs exceeding ten, but there is still nothing.

Comment by Frodo7 Thu, 9th may


Let’s delve into the creative process of how this font was brought to life.

Step 1. Make a large patch of tiling. To infuse a personal touch, I picked the same quasiperiodic pattern from 2015 because it was already there. I recreated the entire pattern using colors and layers to separate the squares and rhombi. It is an exact replica of the original tiling minus some marginal bits. It was a 3-day project within the project.

The best way to handle a complex task is to divide it into smaller, manageable bits. I’ve mapped my tiling pattern with coordinates and rectangular areas. Given the size of the primitive shapes (the fat rhombus: 4x2 bricks; the thin rhombus and the square: 3x3 bricks; see Fig.2), I calculated the size of the rectangles and, subsequently, the overall size of the pattern using bricks as units. I would spare you the mundane details.

Q: How do you apply the coordinate system in Fontstruct without affecting the pattern?

A: After building the coordinate system with XY axes in a separate character space (say, in letter x), I set the Letter Width at zero brick and enabled View Adjacent Characters in the View menu. I placed vertical and horizontal Extra Guides at every whole coordinate (Fig.1).

Comment by Frodo7 Thu, 9th may

Figure 1. Tiling Map. Clematis polytiles are labeled with magenta dots.

Comment by Frodo7 Thu, 9th may

Figure 2. The primitives (at the bottom). Polytiles: One Clematis is in the middle, surrounded by eight Carnation polytiles. The latter ones show their eight possible orientation.

Comment by Frodo7 Thu, 9th may

Observing the pattern, I found two striking polytiles (a group of contiguous tiles) resembling flowers. The first had eight petals and 4-fold symmetry; I named it Clematis. The second one had six petals on a stem and showed 2-fold symmetry; its name is Carnation. My tiling had 21 examples of Clematis and 45+ examples of Carnation polytiles. I copied and pasted them to the correct coordinates and filled in the remaining narrow spaces, and hey presto, my pattern was complete (see Figs.2 and 3). Using the two polytiles saved me a lot of time.

Comment by Frodo7 Thu, 9th may

Figure 3. The distribution of polytiles.

Comment by Frodo7 Thu, 9th may

Step 2. Select the template font. I can’t emphasize enough the importance of this step. I was looking for a curvy sans serif with good contrast. After a long day of searching the web and collecting and comparing samples of the ten digits, I settled with Poller One, designed by Yvonne Schüttler (Google Fonts). It is a marvelous high contrast sans serif, very legible and full of character.

Step 3. Create the template. I’ve made a PDF document containing all the digits, each centered on separate pages. I set Poller One at 500 pt. I also superimposed a screenshot of my tiling pattern from 2015 and adjusted their relative size and position. I used Affinity Publisher, but other tools are just as good (Fig.4).

Comment by Frodo7 Thu, 9th may

Figure 4. Tiling pattern and digit five superimposed.

Comment by Frodo7 Thu, 9th may

Step 4. Make the browser window (running Fontstruct) transparent. I found a software tool, Actual Transparent Window (by Michael Tretyakov, Actual Tools), which does the trick in Windows 11.

Step 5. Place the template digit under the browser window (with Fontstruct). Adjust zoom and position. Due to limited vertical space, I rotated both the template and the tiling pattern to landscape mode. For the template, the 150 percent magnification was the best. I adjusted the position of the tiling pattern simply with the Hand Tool.

Step 6. Clear all squares and rhombi, exceeding the template by more than 50 percent. This was a tedious process: I had to do it layer by layer for each digit. There were many borderline cases: squares, and rhombi protruding out by precisely 50 percent. They were considered one by one in the next step.

Step 7. Refine the edges by manual editing. I have added or removed primitives where necessary, constantly checking my map.

Step 8. Adjust the vertical alignment and spacing of the newly created glyphs after rotating them back to portrait mode.

Step 9. Set the color scheme (of 4 layers) using hexadecimal codes. My choice of colors: #486776, #538da9, #d7d8ae, #f1f3db (two shades of teal, cream, and beige).

Step 10. Test the download.

Comment by Frodo7 Thu, 9th may

Sorry, guys. The last part just vanished again. I'm really tired of this. I was to make another wonderful entry, and I found myself struggling with technical glitches and changing conditions in the last three days. This is not fun.

Comment by Frodo7 Thu, 9th may

Thanks a million, Maestro!

Comment by elmoyenique Thu, 9th may
Comment by elmoyenique Thu, 9th may

What? 8-O?

Comment by elmoyenique Thu, 9th may

@elmoyenique: Don't you worry. I post it again. 

Comment by Frodo7 Thu, 9th may

i put the poller one font over the numbers 8,9

Comment by lucapri Thu, 9th may
Comment by lucapri Thu, 9th may

@lucapri: Your alignment must have been slightly different. I'm not saying my version is the best. There is always room for improvement. However, we can't see what your version would have looked like. I may decide in the future to complete the basic Latin character set. Making more glyphs means more experience. I might refine the numbers, too.

Comment by Frodo7 Thu, 9th may

no, he just did it to see how close it looked to the original

(font size: 105)

Comment by digitalio-2 Thu, 9th may

@Frodo7: It seems like your lost comments are now resurfacing!\⁠(⁠^⁠o⁠^⁠)⁠/

It's insane that you pieced and "chiselled" such complex set of tiles bit by bit! That's dedication. You probably would really enjoy doing diamond paintings if you've found solace in whittling this out. Fantastic work! ☆

Comment by faux_icing Fri, 10th may

Excellent craftsmanship.

Comment by V. Sarela (Yautja) Fri, 10th may

Dear Maestro, I don't understand why you've changed those beautifully coloured bricks that the font had for these new and dull ones. It's still a Color Font, although it looks gray (you said it), so I'm a little confused by your decision because it doesn't improve the appearance of the font IMHO (ie: you don't gain anything with the change and a lot is lost). But you're the creator and you've the last word.

Comment by elmoyenique Fri, 10th may

Beyond amazing in multiple ways. The tesslation pattern although not perfectly repeated (correct me if I'm wrong) still works like a charm, creating sort of a floral feel, nice!

But equally as good are the glyph shapes themselves. Beautifully shaped, with lovely chubby proportion, that look very consistent. 

Comment by Sed4tives Fri, 10th may

why is the colour grey

Comment by digitalio-2 Fri, 10th may
Comment by digitalio-2 Fri, 10th may

oh it's gone

Comment by digitalio-2 Fri, 10th may

Great! The colours are back!

Comment by elmoyenique Sat, 11th may

The Hex codes for the greyscale version are #5c5c5c, #878787, #c9c9c9, and #e7e7e7. I experimented a little with colors. There are endless possibilities.

Comment by Frodo7 Mon, 13th may

The outline view shows the individual bricks. Awesome.

Comment by Frodo7 Mon, 13th may

Thanks for sharing your research on aperiodic tiling and your making process. A wonderful competition entry with a striking outline sample!

Comment by four Tue, 14th may

I must admit that my relationship with fonts and typography is much lighter than what everyone here has before their eyes: an unequivocal commitment between shapes and the way of constructing them to which they have dedicated not days but years. This is what is called LOVE. I "love" typography, but I'm at very, very low levels infront of this, I can only stick a few bricks together and then use them on a brochure, a poster, or a book cover. But this is the Special Bonus level. I've always said that here I'm only an apprentice and that -thanks to you, compañeros- I walk on the shoulders of giants. Thank you for this beautiful gift, Maestro Frodo7!

Comment by elmoyenique Tue, 14th may

@elmoyenique: Dear Friend, you should stop this self-deprecation. It is painful to read. With countless of great fonts under your belt you are a brilliant designer. Get some self esteem, Maestro Elmo!

Comment by Frodo7 Tue, 14th may

Yup, for me you are a font Ace my friend. 

Comment by Sed4tives Tue, 14th may

Thanks both, compañeros!

@Dear Frodo7, I didn't mean to sound self-deprecating and I didn't want that to be the impression my last comments made, much less pain for you (perhaps my bad English was the cause). But seeing beyond the surface is something some people know how to do, and that helps the rest of us. Thanks for that. But don't worry, I'm a little busy with the deadlines for my next book -it's a devilish little labyrinth- and that can affect my mood. In the end everything will be perfect when we finish, it couldn't be any other way, I'm just stepping on the thorns in the road. Thanks again.

Comment by elmoyenique Tue, 14th may
Comment by elmoyenique Tue, 14th may

Your fonts and illustrations are top notch, @elmoyenique! Will this new publication be for sale online?

Comment by four Tue, 14th may

@four: Thanks a million! We (the authors) have asked the publisher for this possibility, in addition to the usual sales on the bookstore websites where it will be available. We already did it with the previous one ("Versos Veganos", which has been completely sold out), but since they are not very large editions (1000 copies) he's still thinking about it.

Comment by elmoyenique Fri, 17th may
Congratulations! FontStruct Staff have deemed your FontStruction worthy of special mention. “Solace in Geometry” is now a Top Pick.
Comment by Rob Meek (meek) Wed, 22nd may

Congrats on the TP, Maestro!

Comment by elmoyenique Wed, 22nd may

Meek, Congratulations for top pick!!!

Comment by FontLeaf35 Tue, 4th june

How did you make it have colour?

Comment by Mr Panda IV Jr Mon, 10th june

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