87533
Published: 21st April, 2013
Last edited: 21st April, 2013
Created: 21st April, 2013
An as-close replication as I could of the typeface on Electronic's brilliant first epynomous album. The rest of the letters are a guess. I may have done this font before. Who knows! I can't search through 400 fs to look for it.
123484
Published: 12th March, 2013
Last edited: 24th March, 2013
Created: 12th March, 2013
Looking at fs SHŌGUN, it occured to me that it might just be doable in 2×3-ish grid. At 1.3 filter setting, it almost was. I couldn't figure out how to do a 1/8th center square, hence the holes. No big deal, just an experiment.
49911217
Published: 28th December, 2012
Last edited: 29th December, 2012
Created: 28th December, 2012
Now with squared-off corners.This is a clone of fs Institutional
10558227
Published: 24th December, 2012
Last edited: 24th December, 2012
Created: 15th December, 2012
I am quite fed-up of this font. It leads to too many possibilities and variations.
I've left the variations on lowercase letters. Clone and come up with your own version.
3421046
Published: 7th October, 2012
Last edited: 7th October, 2012
Created: 6th October, 2012
There's something DIN-esque about it, I know. It may be partly because I've always loved that font. However, no font was the source of inspiration for this. The idea was simply to create something generic. If, in the process, it ended resembling DIN or any other font, it's purely by chance (and geometry). Because of it's eventual looks, the name is an obvious play on the word 'din'.
129544
Published: 27th April, 2012
Last edited: 13th August, 2020
Created: 27th April, 2012
I going to attempt to build this live. Please comment and help me make it better. Suggestions welcome.This is a clone
4312829
Published: 20th March, 2012
Last edited: 1st June, 2012
Created: 18th March, 2012
I don't even know anymore. I just keep doing stuff.This is a clone of fs -ve
97167517
Published: 11th December, 2011
Last edited: 7th August, 2013
Created: 9th December, 2011
This fontstruction was started because I suddenly got fascinated by triangles in Emigre's Matrix font. The triangles got lost somewhere along the development...leaving this hodgepodge of serifs. Look closely, almost all the serifs are different. The question is, which works the best? That's where you come in. Help me decide how to proceed.
103139135
Published: 24th September, 2011
Last edited: 21st July, 2014
Created: 11th September, 2011
Based on the logo for http://www.thememagazine.com/.This is a clone
7154413
Published: 11th September, 2011
Last edited: 10th September, 2011
Created: 10th September, 2011
Permutation: The act of changing the arrangement of a given number of elements.
One font, two different brick combinations.
Picking any two bricks from the 169 available gives a total possible combinations of 14196 (169C2) different fonts. Counting a certain kinds of bricks as one--all four 45degree, for instance--gives 36 unique bricks, resulting in 630 (36C2) unique combinations or fonts.
In this font, if the bricks are swapped with each other, the result will be a different font. Hence order of the bricks matter. In which case, nCr (combinations) is not the right choice. What's needed is nPr (permutations). 169P2 gives 28392 permutations and a 36P2 gives 1260 permutations.
So, at a minimum, 1260 fonts are possible with the current implementation of FontStruct, with just this particular layout of bricks.
112145527
Published: 3rd September, 2011
Last edited: 14th September, 2011
Created: 10th February, 2010
This fontstruction was started a long time ago. Yesterday, being bored (or something), I randomly clicked on page 7 of My FontStructions and found this. Being bored (or something), I clicked Edit.
Back in February 2010, I was able to take this fs only so far and came to a halt owing to geometry and FontStructor limitations. Those limitations, for the most part, seemed to have disappeared in the intervening time. I must've felt encouraged as I've been working on this fs all day today. As it turns out, when you work on something long enough, something will emerge. Et voilà. (I jest. ;)
Oh the soap box syndrome!
Visual aesthetics require two elements, namely, art and design. Let's examine each, shall we, the better to understand whence this came from and to what purpose.
Art has as many meanings as there are people giving them. For me, art is that visual that appeals to one, the stress being on 'one', and serves no practical purpose. Design, on the other hand, by definition*, must serve some purpose, must be reasonably attractive to those for who it is intended, and must stay within the limitation (whether explicit or implicit) of all that is (or will be) involved.
This and every other fontstruction, being visual in nature, has an element of art in it. Keeping the above art definition in mind, and as far as this fs is concerned, the art was my personal aspiration to try to do a diagonal stem of the A and the M and have the rest of the letters in such formation so that they fit like a glove with the A and M (without any effort on the user's part — but that jumps ahead to design). The February 2010 version of the FontStructor allowed me to achieve that very well. The art part was a start (yes, sorry, I couldn't resist the rhyme).
In my experience, any visual thing, no matter how simple or complex; no matter how involved or not; how unique or generic; how &c. and &c. may be termed art as if any one person appreciates it, it is art, albeit to that person only. So, I am satisfied how this fs looks, so the art is done. Also as per my personal experience, design is a much harder, difficult, involved element of getting something done right that also requires appropriate technical know-how to see it to fruition. The February 2010 version of the FontStructor did not allow the 'fit like a glove without user intervention' part. This morning when I started working on this fs, the September 2011 version of the FontStructor allowed me to do almost all that I wanted it to. (I say 'almost' because there were one or two custom bricks I required that I was unable to achieve, quite possibly due to my own inability).
The design confine [—if art gets a rhyme, so shall design—], with every letter overlapping just so, required quite a lot of geometric manipulation (not particularly apparent) to make sure any two letters fitted in properly. It got tedious quick fast in-a-hurry typing out manual kerning pairs (AM, ST, &c.). I had to type out all kerning pairs (AB, AC…RI, RJ, RK…SM, SN, SO…VS, VT, VY…ZZ…&c.) in Word (utilizing handy Replace functionality to speed kerning pair creation) and test every possible pair (even ones that are likely never to be used in reality—QK, for instance).
This being a design exercise, there had to be a purpose. My thinking was, staying within the limitations created by the art part, the font should work as an instant logo delivery system. Type a word in fs Instant—and, hey presto!, Logo (a gogo). It’s up to you to decide if I succeeded.
4752914
Published: 23rd July, 2011
Last edited: 31st July, 2011
Created: 19th March, 2011
The idea came from the Unify game on the iOS and the availability of the arc bricks. The rest happened on its own. I was just the vessel. I don't know where else to go with it at the moment.