When my mother was young (and specially after my birth) she supplemented the family's income from home by typing for students and businesses. When I was a student I used the same machine for my assignments, lesson plans and thesis. The years were not kind to the machine, the mechanics rusted or broke, the letters worn with frayed edges or disintegrating serifs and fine lines. Ruth's typewriter is a declaration of my appreciation of many years of service the brave little machine gave... As you can see I clearly didn't get the letters repaired ;) The font looks like I rearranged and glued down what was left of the raised surfaces, to continue using the typewriter and give my words a very modern look ;)) A "grunge-writer" ?? Did you notice that no typewriters were ever sold with this kind of modern destructured typefaces?! ;)

Since I started this font many years ago (Ruth was very amused and appreciated this hommage) this work has now become a memorial to her

Decorative font with 3 open lines that give a pseudo-volume. Extended for most European and Scandinavian languages.

Upgraded version of Aenvidere (which is the original 'normal weight' version) made for one of my grandsons. The glyphs in this version have lines of different thicknesses which seems to make them and any text more interesting to look at, yet it continues to be elegant.

Numerals are taller than other glyphs, I wonder if a larger letter space might 'integrate' them more when used in a line of text?

Kerning has been done where necessary = on very few pairs: T+some LCs and F+some LCs but not yet on T and F with the corresponding diacritics; also done are TJ and LT. The "f" has been moved in the grid, and "f" and "l" have adjusted letter space. I think that the shape of the glyphs (with and without adjusting their positions/letter space) reduces greatly the need for kerning. Having said all that I'll print some text to check and will adjust kerning where necessary ---at a later date.

This is the most advanced version of Aenvidere (due to kerning), the other published versions will be kerned at a later date. I'm showing them nevertheless so that you can compare versions.

Thicker lines than Aenvidere AGardin. This is quite chunky. Yet it remains rather (good looking and) elegant. Kerning has to be done (check details of this in the font description on Aenvidere AGardin)

Aenvidere (the normal weight version) still needs fine-tuning and kerning. That will come, eventually :) At the moment I'm quite busy doing too many things concurrently.

Check the font description for AlexGar-Aenvidere for details.

At a later date I'll publish a squared-off version of this. Aenvidere SQ will have the same glyph style but will be wider than the other versions which might make it less useful as a "tool" to attract attention when added as splash insert in text that uses another Aenvidere version.

Inspired by  a commercial font advertised within the 'gallery' listing: FORE

Listening to cricket matches I saw a lot of trajectories in my mind when commentators discussed the balls' flight paths and where they landed, of some incredible bowling.

What a great inspiration for my first entry for the ReverseComp.

Maximum rectangle size is 16x20. The LC contains the flipped reversed UC.

I see many white-in-black designs coming in, I'm adding to them as we don't see this type very often ;)

I think that I managed to give the "impression" of those occasional graphics displayed in cricket, football, tennis and other ball-based sports (it might be hawk-eye linked) that show where balls have originated from or to predict/illustrate their continuation.

A blank space is on the underscore, a filled space on the space bar.

Numerals and very basic punctuation are done :)

A set of castle doors or tall windows. Inspired by wrought iron work.

Part of my "1 of the month" series of fonts I designed to welcome new months.

The "1st of a month"  group was a fun idea but I found it a little complicated to do as I don't usually build several different fonts concurrently (ghosting happens too easily).

This font could be used to make tree decorations, gift tags, glass markers, place cards/napkin cards, etc. Just print on sturdy paper in large size and then cut out. Use pale grey ink if you want to decorate this paper base with collage, embroidery/stitching type work; print in coloured inks for a jazzy look which you enhance with dots of glitter glue or sparkly rhinestones. For a hanging decoration thread a length of yarn through the top 'rectangle' or you remove the rectangle's center to thread ribbon through it.

For some different fun you could glue your print on card stock and create greeting cards,  jewellry pendants, shoe decorations. With a brooch back it could make a decoration of clothing, gift bags, hats.

Have fun, joyous December dear fellow FontStructivists :) :) :)

Slab Serif 300 as a stencil font. Bridges on the UC are vertical, on the LC horizontal. Bridges on numbers, symbols, punctuation are mostly vertical.

With summer and holidays still on the mind I remember museum visits and art exhibitions I enjoyed ... this slightly Art Deco inspired style seems a fitting offering :)

Dark Tokken was inspired by Maren Winter's novel about a Tokkenspieler. I know that this design is far from looking like the styles of writing popular at the time when the story was supposed to have happened. I adjusted some lines of this version compared to a previous one, added real LC, numbers and More Latin diacritics :) as I want to print bottle labels with this.

I made the old style sz for the ß, and placed the alternate modern ß on the °.

I finally made it: the font based on the few letters that my favourite Biscuit carries.

I wanted such a font to add to my font collection of  unusual or art-craft-themed fonts (started when we had our first internet-capable computer in 1999). As I couldn't find this font I looked at Art Nouveau and AArt Deco style fonts, also at furniture and wall papers of that period --- that kind of guided me when working on the 'missing' letters of this font which must have been designed before it could be chosen for the biscuits, and which I neither have found nor do I know its real name.

The UC are on biscuits. The LC are only the letters, on the level they have on  the biscuits to enable a kind of 'Majuscle' arrangement for texts.

Diacritics of more Latin are done, also useful symbols and punctuation. A crumb-free "+" is on the "%", a biscuit with surface dips is on the "(" and one with a flat surface is on the ")". The square brackets, when used without a space or letters, will make into a narrower biscuit, and are also used like round brackets.
 

 Just in time for the "Olympic August", this font is perfect for all sports enthousiasts specially for(followers of) team sports. The font is great for posters and invitations, too. It is ideal for colouring in. Make a blank t-shirt with round neck line by using "[" plus "]".

2Legs Before Wicket ... this was inspired by one of the spellbinding cricket matches this summer.

A while ago I designed the Circe family; it is quite elegant and fine. This new version,  based on Circe1, has thicker lines without being bold. This meant changing a few letter shapes and lines. While it can be used with the others I would discourage mixing the normal weight versions with this one due to the structural changes to many letters.

As part of my "First of month ..." series here is an outline font for July, ready to fill with juicy summer fruit and (ice) cream :)

Alternative letters with diacritics (free floating instead of attached, easier to read but less fun to look at;) ) are on the LC for French and German texts. An alternative 'S'  which doesn't quite follow the construction rules but might be of interest, is on the LC 's'.

Chunky decorative basic set of useful glyphs. It has the same width as the other Changle fonts so it can be used with them for more visual impact. Changle consists of UC letters only, on the LC position are the UC with the thick vertical on the right.

I love the traditional French biscuits made on the French west coast where  Loire meets Atlantic.

The biscuits are thin, crunchy, light, not too large, not very sweet, melt on the tongue, and biscuits very like the original can be made/baked quite easily.

The traditional version has a limited range of letters, enough to write the name of town, manufacturer and product. I've been unsuccessful in finding an image of the font which contributed just a few letters to decorate these biscuits.

I spent some time looking at other type of the Victorian/Art Nouveau era until I had collected enough information to help me design the missing letters. I added the French diacritics, naturally. I think my additions look successful and the whole font looks quite Art Neauveau and in the style used originally.

The square brackets [ and ] make a biscuit shape when used 'blank'.

Bon appetit, enjoy your "Biscuit de l'Ouest".

A decorative font to celebrate my birthday month  :) Inspired by Art Deco elements I saw on a shop window and one of my early designer-cizes (did I just invent this word??lol) which thankfully I had kept private ;) because it was too muddle-messy to show.

I think that this version looks good enough to offer as my June freebee :D

I'll add further diacritics to complete the 'More Latin' band if somebody needs them

Artsy kind of font. The name comes from: 1 thick line, 2 thin ones, another thick one, and letters are all lower case. One of these days I'll add Czech and Polish. There were a few challenges regarding heights but I think the balance is fine now and the glyphs legible.

This design was inspired distantly by medieval manuscripts where the first letter of a paragraph (or a page) is much larger than the LC.

For names or first words in a sentence: type the UC then follow directly with the first of the desired LC; all following LC in that word, or indeed in any other usual LC word, will require 1x 'space' between each letter for legibility. Some combinations of UC-LC might look better if a 'space' is used after the UC, which of course eliminates the overlap I intended but will help visually.

I've offered this modern rectangular serif font to my class mates and friends when we met to celebrate an important anniversary of our Baccalaureat-Abitur.

There are just a few more symbols and dingbats I want to add but for the moment this is useable for letter heads and that weird stuff the 'High-Flyers' in our class ;) like to produce

This is the first font of a "set" which I'll publish on or just before the 1st day of every month, for a year.

This design started out with a blocky look on thick bases to create a kind of joined-up look.

But a glitch on 2 glyphs gave the gap, which I liked upon reflection and recreated on all glyphs. I adjusted spacing and some drops below the baseline.

It is cloneable because I'm sure that my fellow Fontstructors can add great glyphs to make it more useful. The font could do with more symbols, punctuation and some basic diacritics ;)

Happy cloning ... please show us your additions! This octagonal design needs some more punctuation and a few necessary symbols to be 'useful' on posters, folder spines, clothing etc. Courageous folk will add diacritics.

Clauses bring bags of goodies to you. On LC you find numbers for an advent calendar. The UC Clauses give UC letters. Clauses on numerals look into a different direction and offer numbers 0-9. There are also exclamation and question marks, an opened and closed empty bag, and 5 decorated ones.

Enjoy ... Happy Celebrations to you!

Kerris = I keep learning. It replaces one of my computer's serif fonts.

Another font (distantly) based on weaving. Or on overlapping or folded paper strips.

I was looking for some "decorative" glyphs to embellish greeting cards' frames; having come across one of my Greek sets I decided to make the whole Greek alphabet rather than stop at the 7 symbols I liked for my project.