The original version of this font seemed to have a problem with line spacing while I used Word® . A space was automatically inserted before  ;  and  :  and occasionally the  ,  . For a reason I don't undertand any line of text using these glyphs slipped down a few pixels which made the pages of text look untidy and reading quite unpleasant.

I haven't seen any reason for this, found no slipped bricks below the base line or above the highest diacritic's edge nor did I see a brick at the left or right of a glyph nor did I 'misalign' glyphs. In desperation I have changed the position and shape of the 'problematic' glyphs as well as some descenders, ascenders and height of some diacritics. I'll check tomorrow if this has improved spacing. BTW, this problem doesn't show up in the font preview of the Fontstructor nor in the 'My Fontstructions - user input'

It is possible that my eyesight is bad, or that I was too tired when checking this font and its parent version. If you happen to spot or know what caused this erratc line spacing please let me know, thanks🤝

Started this a long time ago, when Covid was still a threat and I spent a lot of time indoors doing some craft work. This design started with the letter "n" which I sketched out after studying images of unusual stained glass windows. Still a WIP. A sampler will follow soon.

Alternates: A , Q , R , S , W

The width of the letters spelling out each number is different after the first 2 letters (but the "i" is always 4px wide)

Four numbes added : "10" is on the "K" , "11" on the "L" , "ZEHN" on the underscore , "ELF"  is on the "$"

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.

A more 'normal' type of university font, familiar, safe, with only few quirks, and as complete as I want it until summer. All letters are on Lower Case. Alternative "s" is on "S". No kerning.

I Fontstructed my way through a difficult period, the holes have quite a story to tell....... A weird design and not totally necessary, I was told. That'll  be OK for me ;)  All letters are on Lower Case. There's an alternative 's' on 'S'. No Kerning.

Italian word for a type of needle lace popular 15th-17th century.

Angled bricks based on 1:4 // 4:1, also some ready-to-use combos, some straight and angled lines to match the 1:4//4:1 sized bricks, a few 'decorative' elements (could be used to fill lines or counters, or to create entire glyphs) and stacks.

Designed to show how the combos are made as this might help newcomers to understand the technique and enable them to make those they want -- if they can't find them in the excellent tools and sets some members have created. 

I'm hoping that someone can add more related lines, bricks, angles, combos, stacks and then help us by publishing their extended clone.

A dark look and a few crows' beaks for dreary November... it belongs to my "1st of" series for 2016.

 Spiky shapes and sticks that point in all directions: just take a twilight walk trough a forest in the fog.

The name is Hungarian as we have Hungarian connection in the family and among friends. It means my forest spirit.

Inspired by a video showing a hairdresser creating a wig for a play........

Many LC glyphs are an alternate to corresponding UC.

I haven't mastered creating good joints between  FS bricks and the compos I need to make ""to join"" the two types of brick. Trying to get them to flow into each other produces more or less untidy joining in many places which I find frustrating. Maybe I have to sketch out simpler designs for easy Fontstructing.

Looking at the caron I wonder if the center cross-over brick needs replacing with the one that dips downwards? See the two different bricks in the caron of E and e.

This is the bolder version of INGEROL. Made for my uncle ROLF who is celebrating his birthday on the 28th August. I named the font for him and in loving memory of my aunt INGE who I miss very much. Love, Holli and Ninzi.

An alternate slightly taller "a" is on the "µ" and another "x" on the "\". Kerning of really obvious pairs will be done. I'm showing this only because it's a clone that automatically replaced the compos, stacks and standard bricks with the square brick.

A while ago I mentioned encountering the swapped bricks and weird (=51) brick quantity in another cloned version of this design. At first I felt frustrated but then I thought it might work out as a useable font. Without the surprising swap there'd be no Romaeo as a pixel design!! Now I think the glyph shapes look really good with pixellated edges, I'd not have worked a chunky Romaeo into a pixellated chunky Romaeo.  Proof that there might be unexplained and unwanted brick problems which don't deserve to be forgotten or deleted as the design can be used to develop a quite acceptable font.

An old font revisited and revitalised: now it's weird but fun. No diacritics, almost no punctuation nor symbols. Simply because I  think this is not exactly useful ;)

Something "fun". Inspired by the many journeys I've made and by train travels. And by my grandchildren's train toys. The angular design echoes small table tops we sometimes use to put the tracks on ...

UC is normal weight and is used in the sampler (font name). LC has some thicker lines for increased legibility although this font is only meant to illustrate concepts (travel, finding new ways, diversification etc) or for logos, shop signs, invitations and similar. Not simple enough for use in anything long or complex that has to be easily read.

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.