This is the third font in the db Artmix series.This is a clone of db Artmix
Clone of Sierra Font 501 fon. Smooth version of another favorite computer RPG: Old English font from Betrayal In Antara, (C) 1997 Sierra On-Line. Sierra Resource File Tags: "8.fon" ; "501.fon" ; "4210.fon". Kerning is from "501.fon", which appears to be only found in Betrayal In Antara. Numerals (except 3 & 8) are from "4210.fon", found in Torin's Passage, (C) 1995 Sierra On-Line. Numerals 3 & 8 are designed by Goatmeal.This is a clone of Sierra Font 501 fon
My first font based on old style cyrillic letters transformed to modern gothic and hard rock letters! Latin and Cyrillic glyphs with basic symbols.
Work in progress …
Planning only to track down some bugs in the FontStructor, I was suddenly struck by similarities between the random shapes I was placing on the canvas and images I had stumbled upon recently on the web – I think it was in this article in the Guardian.
The images were of Peter Womersley’s modernist design for “High Sunderland”, fashion designer Bernat Klein’s erstwhile home, near Selkirk in Scotland. I wasn’t at first drawn to the modernism, but to the promised description of the experience of living in a house which was visually so open to the outside world – although ultimately the article wasn’t especially enlightening on that point. Later I found more extensive sources of images of the building on the web.
Working on this was the first time in quite a few years that I have been possessed by my own, earnest FontStructing rush. I was very pleased to find that the FontStructor tool still works as well and simply as it ever did – allowing for a uniquely swift and unimpeded creative progress through a set of modular glyphs.
The basic grid for each letter, based on the characteristic modules of the building, is topped by a slightly heavier bar and so slightly asymmetrical in the vertical, like the structure of High Sunderland itself, but it is essentially square and consists of six parallel horizontal bars.
In the FontStruction, the emphasis is on these crossbars – with every effort made to avoid partial horizontals and additional vertical lines, especially for the basic latin alphabet. The font is essentially unicase, with some variants in the lower case.
At one point I noticed that there are some window panels in High Sutherland which do have a single, thinner vertical divider (for sliding open presumably) so I used this for the middle legs of the M and W. After completing the initial FontStruction I also noticed in photographs of the building that there is at least one window with multiple vertical subdividers, so maybe that can form the basis for a new grid and a new FontStruction (High Sutherland B).
Things started to get fun for me when I got into the punctuation and accented letters. I saw no alternative to adding additional verticals for the hash, the percentage sign and some other glyphs.
I really like the percentage sign, although I’m not sure how legible it is – but I guess ultimately that it is an issue with the whole font.
When it came to glyphs with unavoidable diagonals – such as the slash glyphs – I went for a stepped approach, which I think is basically a good one, maintaining the emphasis on horizontal lines, and suggestive of musical notation – but the steps are a bit sloppy. I probably need to revisit them.
I’m not sure about applications for this FontStruction. Maybe it would be useful to someone intending to erect their own mid-modernist dwelling in the hills, or to someone planning to put up some new shelves!
What better way to celebrate our bright future than pushing a whole creative medium forward? Introducing Brick Patching – a combinatoric approach to constructing hyper-tunable curved and angular modular forms.
Stay tuned to this space; on Sunday 5/xx/20 I will describe this highly useful hack and fully document the technique.
Upgrade your gray matter cuz one day it may matter.
Remember that time in the future, when there was a deadly global virus, then they tried to force everyone to take a mandatory untested vaccine, along with an implanted GPS chip that is cryptocurrency controlled and could track you worldwide, along with embedding additional restritions on civil liberties and personal freedom? Oh wait, thats now. Silly humans.
Future technology, like nanoimplants, will be magically rendered invisible with the use of nanotechnology utilizing atomic sized processors enabled through ferro electrics in conjunction with nanowires and carbon nanotubes operating from a ternary extradimensional mathematical framework. Or something like that.
Ironically, this font works best in macro sizes, not micro or nano.This is a clone
Remember that time in the future, when those mean, hyper-aggressive, sarcastic aliens tried to take over the planet? Those guys were jerks. But I did like the font that they used to communicate with us measly humans. Alternate extraterrestrial realities are the future.This is a clone
Remember that time in the future now where we would blame immigrants for taking our jobs, and nobody talked about how robots can now execute many repetitive industrial manufacturing tasks, do gymnastics, disarm bombs, while working 24/7 without breaks, health insurance or labor unions, and how cars/drones could drive themselves with artificial intelligence that improves daily? That was the good ol' day. Now robots can perform surgical procedures. That video of a robot carefully removing the skin off of a grape was awesome. 4 out of 5 medical robots prefer the G1 Prone font for their personal visual linguistic representation due to its surgical precision and linear execution. The future of TeleRobotic medicine, or any laborious human endeavor, will be in the hands of our cold, unfeeling robot overlords. =)This is a clone
This font was inspired by the Japanese post-apocalyptic cyberpunk animation, Akira (1988). The convoluted story is set in a dystopian future, in a large megacity: Neo-Tokyo.
Unfortunately, I could not finish the Katakana characters, but the Latin alphabet was designed to reflect the style of the Japanese letters.
This was a spinoff of my SpartanTech font, based out of the Halo 3 Video Game. I would describe it as representationally techno-militaristic.
Spacero. It is a fontstructed remake of the Linotype Spacera font with an augmented lowercase set and hexagonal serifs all around. Just looked at the creation date, and saw that this has been just sitting around for over a decade. Where did the time go?
This is a military-style stencil font inspired by the original Stencil-Gothic face (by John West c. 1885), Ironmonger (by John Downer, 1991-93), and Pediker (by Kazimir Samoscanec, 2013). The latter one is a revival of a stencil face of unknown origin. Sorry for the dystopian future. I hope it will never happen.
Future Competition entry 1
A different take on the "glitched" concept (hopefully - I haven't seen anyother font that "glitched" diagonally).
Quarantine 2020 allowed for this fontstruction to be born as it provided forced free time.
I'm sure it's true for everyone who designs fonts, there were lots of artistic decisions made in the creation process. Some letters went through a lot of iterations to arrive at their current state. Almost the entire uppercase were designed one way, scrapped and then redesigned this way.
The future is screen. Super high-resolution screen. Resolution so high that it is indistinguishible from printed text. 4K screens are available on mobile devices now. The future is resolution independent then.