73155612
Published: 3rd May, 2024
Last edited: 26th December, 2009
Created: 25th September, 2009
Syzygy was an attempt to create a typeface of old style characters with a high contrast between thicks & thins and attractive curves, despite the inherent limitations of fonstruct’s available blocks. The end result is a highly readable typeface — even at smaller sizes — comprised entirely of straight lines. While the astronomical definition talks about alignment, the word “syzygy” more broadly means “the union of disparate or opposing object, ideas or concepts”. Thus, the name “syzygy” is meant to reference the merger between old-style letters and a modern, computer-driven design tool — truly a meeting of opposites.
370943
Published: 23rd May, 2008
Last edited: 5th June, 2008
Created: 23rd May, 2008
I like both the uppercase and lowercase part of this font, but togheter they produce a strange mix. Anyway, it could be an option for a solid and nice hybrid case.This is a clone of Futuristica
9661417263
Published: 10th August, 2008
Last edited: 24th June, 2009
Created: 10th August, 2008
this electricity
injected into me
emotions running over me
and when you're getting close
you touch my innermost
a feeling deep inside me knows
—"circuit breaker", röyksopp
13773439205
Published: 16th January, 2009
Last edited: 11th May, 2011
Created: 15th January, 2009
Lay The I Flat on top of this to fill in the missing parts.
51078423
Published: 18th February, 2009
Last edited: 16th July, 2009
Created: 8th February, 2009
It started when kolarek posted the RÖFIX logo as his inspiration for his Blokinjo FontStruction. I wondered if that logo could be recreated exactly in FS. Turns out, it could. Having done that exercise, it was time to move on to play with other character designs. In a short while the whole set was done that matched the logo characters. Then the playing really began. Over the last 11 days, enough variations for each character were generated to fill three fonts. This is just one of those three.
$=Alt. s %=Alt. alt. s <=Alt. V >=Alt. W [=Alt. U ]=Alt. alt. W \=K |=Alt. S
114128110
Published: 19th February, 2009
Last edited: 19th June, 2009
Created: 11th February, 2009
This came out of the same exercise that produced FIROX.This is a clone of fs FIROX
35164347
Published: 10th May, 2009
Last edited: 27th September, 2009
Created: 10th May, 2009
The 'What happened to all the pixels?' version.This is a clone
6998316
Published: 29th August, 2009
Last edited: 29th August, 2009
Created: 27th January, 2009
For use at pixel level. Also works at 32pt×x, where x=1,2,4,8,etc. ----- This font has been a long time in the making. The dots are such that the curved shapes and squared-off letters just would not resolve to an equal height no matter what I tried. Then after the mixed x-height that came about in yesterday's la Cross, it occurred to me to just let the letters be as tall as they wanted to be. It seems to work for some odd reason. Can someone please explain why it works?This is a clone
15398649
Published: 1st February, 2010
Last edited: 22nd December, 2010
Created: 31st January, 2010
Inspired by a picture found on this website.
Another diagonal line font so soon after fs Overlap. A mere coincidence. The application of each is very different. Overlap is about negative space while I-Tilic is about patterns and meta shapes. Post samples if you end-up playing with this fontstruction. Have fun.
[ = fi ligature ] = ti ligature < = background fill (negative) > = background fill (positive) ` = reverse tile (above base line) ~ = reverse tile (full height) { = top border } = bottom border | = side border
64811216
Published: 11th February, 2010
Last edited: 24th July, 2010
Created: 10th February, 2010
For now, apart from the provided 'fi' and 'fl' ligatures, all 'f-' and 'ff-' variations - and other alternatives - are within the capitals. More punctuation and to come and and any suggestions for further alternatives welcome.
566856
Published: 15th February, 2010
Last edited: 13th April, 2010
Created: 15th February, 2010
Nothing new here. Just a little something at a 'minimum' scale for the user-pic.
64159221
Published: 16th March, 2010
Last edited: 7th June, 2010
Created: 29th August, 2009
The name is derived from this fontstruction trying to emulate the intaglio style.This is a clone
58106125
Published: 5th April, 2010
Last edited: 5th April, 2010
Created: 20th November, 2009
This feels very bad; it's the first time I'm betraying my oath never to use the grid to feign bezier curves, and one of the few times I betray my principle only to publish complete character sets. At least there is a chance to make amends on the second treason, but this font still deserves it's name: Tradita. (Italian for betrayed)
Alternative a and z on the lowercase. I'll probably add more characters soon enough, but it's unlikely to get an uppercase set.
63914625
Published: 25th May, 2010
Last edited: 26th May, 2010
Created: 25th May, 2010
A quick experiment playing with the possibilities of overshoot, using the composite brick function.
47109712
Published: 13th July, 2010
Last edited: 17th July, 2010
Created: 12th July, 2010
Ignore the preview window. View the sample.
[If you are going to use the preview widget, slide the PXL setting to around 60% point.]
A long while ago, I came across some logo or font or something that said something like 'raptor' or 'captor' or something. This font owes its existence to that...er...logo. But it has been futzed with umpteen number of times so it only has a distant cousin look to the original. I searched and searched my files but couldn't find the original. Checked google, bing, behance and logopond too; no luck.This is a clone
104136733
Published: 18th August, 2010
Last edited: 18th August, 2010
Created: 17th August, 2010
Well, there was this way to go.This is a clone of fs SquaredUp (and nowhere to go)
55622113
Published: 6th January, 2011
Last edited: 5th January, 2011
Created: 25th August, 2010
An on-going project. More glyphs will be added periodically.
We (the place where I work) are attempting to brand ourselves because our field is getting a bit too crowded and we don't want to get lost in the clutter. In the process, we are exploring a lot of different styles. Not that we are unsure how we want to proceed or what our positioning will be, we want to ensure nothing obvious is overlooked. In the process, a lot of ideas are generated, some discarded outright while others —as long are they support the planned positioning— are pursued long enough to recognize if they are worth exploring further...or not.
Some letters from this font were developed as part of one of the proposed wordmark. Overall, it works without breaking any of our internally established rules. The problem is one of extensibility and adaptability for unforeseen future needs which this font is prone to cause owing to its personality. The logo work was done in Illustrator, of course. However, to see if the typeface has potential beyond the few glyphs of the wordmark (and not in small part due to its modular nature), I worked out the remainder of the letters here in the fontstructor. :-)
I'd appreciate it if I could have your constructive criticism on each or any of the glyphs and how they could be improved. Specifically, I am trying to avoid awkwardness in the coming together of any two letters. As you can see, it's very much a work-in-progress.