7431939317
Published: 10th April, 2010
Last edited: 10th April, 2010
Created: 27th December, 2009
Because you can never have enough ball terminals...This is a clone
177167550
Published: 17th February, 2010
Last edited: 19th February, 2010
Created: 16th February, 2010
Prog is a condensed, geometric, modular display typeface with a contemporary sci-fi aesthetic. The design draws from a multitude of influences. Specifically I was inspired by: mathematics, Japanese space-rock, the movie MOON (directed by David Bowie's kid), and the Funk King's wonderful molecular work here on FontStruct.
The principle building block for the design is an obtuse angle segment that's cloned, reflected, and rotated to create an entire letter. Mapping the technique to the whole typeface was a challenge and there are some compromises (see D and U). As is frequently the case with these strict modular exercises the T is the stand out ugly duckling.This is a clone
184415235
Published: 16th November, 2009
Last edited: 14th November, 2009
Created: 17th September, 2009
A play on brickstacking, 'Brutal' is an experiment in creating a one brick fontstruction for multilayered screen printing. To use this font, you simply need to layer the uppercase alphabet on top of (or underneath) the lowercase alphabet (see below for a sample).
Obviously, it doesn't look like much in the Fontstruct preview.
The inspiration for this typeface came about when I was putting together this Flickr gallery of modular multi-colored lettering.
The first 25 downloads are all mine. It was a hard one to test.
1274146257
Published: 26th October, 2009
Last edited: 2nd October, 2009
Created: 1st October, 2009
The ‘Sans Serious’ Series is a group of tribute typefaces meant to honor Dutch designer and typographer Jurriaan Schrofer.
Along with Wim Crouwel and Josef Albers, Jurrian Schrofer (1926 - 1990) was among the Bauhaus pioneers of grid-based modular typography and design.
Schrofer's work experimented with type, light, and color and focused on mathematical shapes and pattern.
“Schrofer made several attempts to create complete typefaces - one of which was wittily calledSans serious- but this was never his goal. ‘Is it necessary’, he wrote, ‘to make complete alphabets with upper- and lowercase, figures, diacritics and seriously adorned with a name, when the aim is merely a formal investigation into basic recipes’ Schrofer's domain was never the design of typographic alphabets, to be used by other designers, but always the creation of letterforms ‘made to measure’ as part of his own designs of - mainly - book covers and postage stamps. He created a rectangular alphabet as the basic element of his ever-changing covers - each based of the same grid but colored differently - for a series of scientific books, ‘Les textes sociologiques’ from Mouton Publishers. He made sophisticated pixel-based letters, all drawn by hand, and experimented with photographic screens as a means of distinguishing simplified letterforms from the background. He created logotypes built from custom-made letterforms, based on rectangular grids.”
“In his booklet ‘Letters op maat’ (‘Type made to measure’, 1987), Schrofer presented many of his experimental alphabets from the 1960s and '70s. The booklet was part of a series of goodwill publications edited by Wim Crouwel for Lecturis Printers, Eindhoven.”
1271420039
Published: 3rd October, 2009
Last edited: 3rd October, 2009
Created: 25th January, 2009
Cleaning out the queue. I can't believe this one has been sitting in here for *gulp* eight months! I figure if I don't kick it out now, then it will sit here sequestered for another eight.
The title is inspired by my struggles to space this one properly.
A work in progress. Taking any and all feedback - especially for spacing.
Works best at specific sizes. Enjoy.This is a clone
71954171177
Published: 1st September, 2009
Last edited: 9th September, 2009
Created: 13th July, 2009
Hunstrüct is my first attempt at designing a contemporary blackletter typeface within Fontstruct. The typeface draws inspiration from the long tradition of German Fraktur styled blackletters. The name Hunstrück is taken from a mountain range in Germany called the Hunsrück. Primarily I was aiming to build a face that would work well as a display type for gig posters and larger headlines but as I reworked the typeface I tried to strike a balance between text and display.
Big thanks goes to djnippa for his hard work in spacing this font properly.
239174337
Published: 22nd July, 2009
Last edited: 23rd July, 2009
Created: 25th June, 2009
This is a Sessions flavored remix of Saberrider's wonderful Poff font.This is a clone of poff
144126725
Published: 22nd July, 2009
Last edited: 13th July, 2009
Created: 11th July, 2009
This is a clone/remix of Micromoog. This font should ONLY be used to set the titles for a bad Michael Bay movie where the plot features an alien breed of energy drink swillin' robots that fight against extreme sport celebrities in an attempt to rid the earth of BMX bikes, skateboards, all neon colors & fun.
Lowercase carries a full set of X-TREME alternates. This is a clone of Micromoog
11896522
Published: 24th June, 2009
Last edited: 29th June, 2009
Created: 23rd June, 2009
Experimenting with reverse glyph building (knockouts) to create a modular monoline font with more fluid, rounded shapes.
A work in progress. I would appreciate any and all feedback, suggestions, etc.This is a clone
84206510
Published: 24th June, 2009
Last edited: 29th June, 2009
Created: 23rd June, 2009
Experimenting with reverse glyph building (knockouts) to create a modular monoline font with more fluid, rounded shapes.
A work in progress. I would appreciate any and all feedback, suggestions, etc.This is a clone of Gaga Stencil
136256916
Published: 20th April, 2009
Last edited: 4th December, 2009
Created: 17th April, 2009
I bought one of those 3D Pin Art things at a garage sale a couple weeks ago. Turns out making 3D impressions of "The Bird" doesn't hold the same cultural currency now as it did when I was in Junior High, so I decided to cash in another way and make some letters.This is a clone
260176717
Published: 2nd March, 2009
Last edited: 1st July, 2009
Created: 17th February, 2009
Inspired by Em42's 'Dioptical' and various other Fontstructions carrier out by fellow Brothers of the Optical Cloth.
16866824
Published: 10th February, 2009
Last edited: 23rd November, 2009
Created: 9th February, 2009
Loosely based on several styles of letter and numeral forms observed on various aircrafts at the Evergreen Aviation & Space Museum in McMinnville, Oregon. The museum is home of Howard Hughes Flying Boat H-4 Hercules (aka, the Spruce Goose).
Jetstream is a clone of Perforate. Jetstream's x-height is higher. The uppercase horizontals are narrower. The lowercase 'a' was made two-story. Without the constraints of the perforations, I was able to better center the crossbar of lowercase 'e', 's' and 'x'. Some numerals have also been modified.This is a clone of Perforate
187116315
Published: 9th February, 2009
Last edited: 16th June, 2009
Created: 4th January, 2009
Loosely based on several styles of letter and numeral forms observed on various aircrafts at the Evergreen Aviation & Space Museum in McMinnville, Oregon. The museum is home of Howard Hughes Flying Boat H-4 Hercules (aka, the Spruce Goose).This is a clone
Q: What's with the name? A: At some point over the holidays, the movie Thunderball was on and I got to thinking about jet packs, Aston Martins, archenemies, Blofeld, SPECTRE and whether Miami is really worth 100 Million in diamonds or if it might have been better just to keep the diamonds instead of trying to save Miami. I mean, at the time of the movie, Miami hadn't even discovered cocaine yet and really wasn't on the map. If I were Blofeld, I would have picked an entirely different city to hold a bomb threat over. It was the sixties after all, take out San Francisco. Incidentally, at one point in the movie Bond finds himself in the Bahamas in the middle of a junkanoo, which is a kind of street fair where folks wear insanely colorful costumes (mostly of feathers) and dance around. Junkanoo! Now that would make a great name for a font. Much better than Thunderball. Is it too late to change the name?
Q: Your recent output - including this clodhopper - seems to be stuck on the 1.8 brick size filter, is your filter toggle stuck or something? A: Your Mom's filter toggle is stuck, buddy! And my next font will be called Clodhopper, and it will be yet another font built at 1.8 and it's going to be big and thick so you'll really feel it when I beat on your skull with it.
Q: Whoa! Touchy. Ok, how about that uppercase 'T', it's awfully funny looking, you gonna change it? A: Oh Boy. You just don't know when to quit, do you? The 'T' began as a spacing compromise but over the last few days it has grown on me - overtaken me really - like some saccharine soaked pop song that I hate but secretly love. So back off on the 'T', it's not going anywhere.
Q: Any last thoughts? A: Blofeld, Junkanoo, Clodhopper - all rad names for fonts that have yet to be born. Q.E.D.
2591615128
Published: 5th January, 2009
Last edited: 2nd February, 2009
Created: 26th December, 2008
A few pattern motifs based upon the Playtime grid and retaining (for the most part) the central block.This is a clone of Playtime Rounded Bold
29151032
Published: 22nd December, 2008
Last edited: 15th June, 2009
Created: 22nd December, 2008
The Playtime Family. A product of being completely snowed in all weekend and spending a lot of time playing blocks and legos with the kid. Even when I'm not fontstructing I'm still playing with bricks.This is a clone of Playtime
5101910415
Published: 22nd December, 2008
Last edited: 26th May, 2009
Created: 22nd December, 2008
The Playtime Family. A product of being completely snowed in all weekend and spending a lot of time playing blocks and legos with the kid. Even when I'm not fontstructing I'm still playing with bricks.This is a clone of Playtime Rounded
317110311
Published: 22nd December, 2008
Last edited: 16th June, 2009
Created: 22nd December, 2008
The Playtime Family. A product of being completely snowed in all weekend and spending a lot of time playing blocks and legos with the kid. Even when I'm not fontstructing I'm still playing with bricks.This is a clone of Playtime
420610321
Published: 22nd December, 2008
Last edited: 7th February, 2009
Created: 21st December, 2008
The Playtime Family. A product of being completely snowed in all weekend and spending a lot of time playing blocks and legos with the kid. Even when I'm not fontstructing I'm still playing with bricks.
50872546
Published: 19th December, 2008
Last edited: 24th June, 2009
Created: 19th December, 2008
Sawhorse Braumarks is a hops & barley flavored family of dingbats I put together to compliment Sawhorse. They were made to be used as label art for beer bottles. The neighbors and I have home brewed up a wicked spicy chocolate beer to bring in the season. I'm not sure which is more difficult, home brewing or fontstructing, but they sure go well together. Cheers & bottoms up.
178712211
Published: 4th December, 2008
Last edited: 22nd June, 2009
Created: 1st December, 2008
Clone of Mooch. A squared off version with an attempt at an uppercase.This is a clone of Mooch
418116630
Published: 18th November, 2008
Last edited: 4th December, 2009
Created: 18th November, 2008
A mash-up of sorts. Microgramma meets Dr. Robert Moog.
20559811
Published: 28th October, 2008
Last edited: 19th November, 2008
Created: 28th October, 2008
This Fontstruction was produced after plugging in the Atari 2600 the other night and falling in love all over again with the minimalist simplicity of the game Breakout.
A little Jobs/Wozniak drama from the development story of the game Breakout:
"Breakout, a discrete logic (non-microprocessor) game, was conceptualized by Nolan Bushnell and Steve Bristow, after the latter had "rejoined" Atari after the merge of Atari subsidiary Kee Games.
"Al Alcorn was assigned as the project manager, and began development with Cyan Engineering in 1975. The same year, Alcorn assigned Steve Jobs to design a prototype. Jobs was offered USD$750, with an extra $100 each time a chip was eliminated from the prospected design. Jobs promised to complete a prototype within four days. Jobs noticed his friend Steve Wozniak—employee of Hewlett-Packard—was capable of producing designs with a small number of chips, and invited him to work on the hardware design with the prospect of splitting the $750 wage.
"The original deadline was met after Wozniak didn't sleep for four days straight. In the end 50 chips were removed from Jobs' original design. This equated to a $5000 USD bonus, which Jobs kept secret from Wozniak, instead only paying him $375."
3093155346
Published: 29th September, 2008
Last edited: 22nd June, 2009
Created: 3rd August, 2008 The Slurpee Font - Created and fueled by an unhealthy summer obsession with the world's greatest beverage you can drink/eat with a straw. A little interweb research gave some hints at a few more glyphs than the initial six glyphs in the 'Slurpee' logo. In some cases, like with the 'c' glyph, I noticed that it had been drawn differently in different usage. See here and here.
Being that the current Slurpee logo is Unicase, I decided to try and make uppercase and lowercase alternatives that can be mixed and matched for the unicase feel.
See also Chank Diesel's wonderful font Cosmic, which draws from the old school Slurpee branding.
P.S. The Monster Black Ice flavor that came out this summer was ridiculously awesome.
486737
Published: 23rd September, 2008
Last edited: 7th February, 2009
Created: 23rd September, 2008
Lithe is my attempt to build something modular with a hint of flair.
222101618
Published: 16th September, 2008
Last edited: 16th December, 2008
Created: 14th September, 2008
The Chesterfield Royal Family was formed from my desire to add new weights to the original Chesterfield typeface. In the process of drawing these new weights, I began modifying some of the forms of the new glyphs away from the original Chesterfield glyphs in order to build a more flexible brick/grid structure for the development of various weights. The most noticeable difference between these three new faces and the original is the lowered x-height. That said, there are still some compromises between the different weights and because of that I've given them these royalty names instead of the normal practice of light, regular, and bold weight names. One of the biggest compromises occurs in the Prince weight, where I was unable to add the notch where bowls and shoulders meet stems (see King and Queen weights) without adding too much extra black weight to those parts of the glyph.
A work in progress for sure. Any help/thoughts/repulsions/bile appreciated.
16119814
Published: 16th September, 2008
Last edited: 3rd November, 2008
Created: 14th September, 2008
The Chesterfield Royal Family was formed from my desire to add new weights to the original Chesterfield typeface. In the process of drawing these new weights, I began modifying some of the forms of the new glyphs away from the original Chesterfield glyphs in order to build a more flexible brick/grid structure for the development of various weights. The most noticeable difference between these three new faces and the original is the lowered x-height. That said, there are still some compromises between the different weights and because of that I've given them these royalty names instead of the normal practice of light, regular, and bold weight names. One of the biggest compromises occurs in the Prince weight, where I was unable to add the notch where bowls and shoulders meet stems (see King and Queen weights) without adding too much extra black weight to those parts of the glyph.
A work in progress for sure. Any help/thoughts/repulsions/bile appreciated.
1371988
Published: 16th September, 2008
Last edited: 3rd October, 2009
Created: 14th September, 2008
The Chesterfield Royal Family was formed from my desire to add new weights to the original Chesterfield typeface. In the process of drawing these new weights, I began modifying some of the forms of the new glyphs away from the original Chesterfield glyphs in order to build a more flexible brick/grid structure for the development of various weights. The most noticeable difference between these three new faces and the original is the lowered x-height. That said, there are still some compromises between the different weights and because of that I've given them these royalty names instead of the normal practice of light, regular, and bold weight names. One of the biggest compromises occurs in the Prince weight, where I was unable to add the notch where bowls and shoulders meet stems (see King and Queen weights) without adding too much extra black weight to those parts of the glyph.
A work in progress for sure. Any help/thoughts/repulsions/bile appreciated.