I lost sight of the direction this style (I doodled letters B N O W X f o ß v y in 2016!! ) needed. So I parked it for a long time, revisiting and changing aspects in the past for a competioin. Now at last I'm able to find  "the voice of the silhouettes" and felt confident to restart work on this font. As I've redesigned it to be less 'experimental' it can integrate more easily on pages containing standard fonts, layout styles and glyphs, in head lines, splash text, shout-outs etc etc. There are still some glyphs to add and a few shapes will be revisited. Alternate " 2 " is on U2020

There might be 'problem areas' on glyphs, I've not been too well and still tire easily, so if you spot something I've overlooked or clearly got wrong please let me know; suggestions and solutions to improve font and glyphs are welcome!

Based on the Ymdraes8 group this new version is only designed for DE and EN and FR. It gives most basic symbols and punctuation to attract the eye/attention when used as intended : basically it proposes "majuscles" for the other versions. Replacing the original horizontal and vertical double lines makes it more imposing.

This font gives the UC on the first 3 Latin bands ... a few alternate UC letters are on corresponding points on the LC, for each of these Latin bands.

The 'ß' is on the correct LC point as German typewriters and keyboards still  offer that one and not the UC version.

Inspired by a gift box containing a wrapped box which held a gift-wrapped envelope offering an origami tulip hiding a butterfly pendant ...

UC letters  only -- but a few UC alternates are on their LC positions, as is the LC "ß"

Made for DE & EN

An extended version and some pleasant additional altenates to UC are on their respective LC positions.

Sieht brauchbar aus. Alternative 3 auf "§" , alternative 4 auf "µ". Overview Sampler shows some of the basic glyphs and just one or two (but not all of the) more special 'number glyphs' I've  added. The Display Sampler shows the visual impression of the font in a text situation.

Tylluan   (Welsh) = owl (English)

Having looked at this font to add glyphs for the language one of my friends uses I decided to change some of the original glyphs, for the fun of change ;) ....... if you saw, remember and now hope to download the original basic English version: sorry, it's out of circulation unless I decide to remove the asked-for glyphs/shapes in this version so that you can DL the new basic Enlish version with support for my language and some fun dingbats. This particular upgraded version of Tylluan won't be downloadable unless the 'owner' of it allows me to offer it to FS members . 

I changed some curves, improved the e-mail symbol, added curved blocks and glyphs for some European languages including Welsh (( RAY if you want to use this DO let me know here via PM !!!)) You'll also see the Eiron :=  aka. interrobang (en), exclarrogatif (fr), Fragerrufzeichen (de) and some asked-for dingbats

Cloned from Aidenfont's "Amogphabet" who seemed to have been inspired by the shapes of "Amogus"; I kept Aidanfont's name for my extended clone and added the "_A_" at the end (to indicate that this is the 1st extended clone of "Amogphabet" should other Fonstructors wish to extend further). 

The original "s" is on LC, a different "S" is on the UC.

In this clone I adjusted word and letter spacing, added numerals, a few useful punctuation marks (even on 'More Latin'), all 'more Latin' letters and some on Latin1.

Creating the @ seemed an ideal project, the basic shape of the "A" invites the change. I designed 3 different versions of "@" but didn't find a shape that would flow with surrounding glyphs.

Thank you Ryan for this font, you've found some great solutions for several glyphs which are 'tricky'  due to the compact style you've chosen.

Changes made are : Nudging and stacking became necessary. Added /:|;\=]}£€~{[ Added glyphs (incl LC and UC "ß" , also the specific national quotation marks ) for people in German and French speaking countries and in those countries where German and/or French is a co-national or region-based language.

UC roofs slanting down from the left, LC roofs slanting down from the right. To have pointed roofs on words use 1 UC followed by 1 LC ; if you want words covered by a 'typical' factory roof-look of the industrial past use only UC or LC.

Numbers, symbols and puctuation buildings are shorter and their roofs slant in both directions from the center; their lower roof corners join any other lower roof corner.

Word space is just that, if you want some decorative item to show gaps or word space use some of the designs shown on symbols, or use the underscore moon. The hanging lamps and sign scrolls are designed to fit on the taller sides of a letter unit.

Started to work frustration with window fitters off my chest. Finished after a year of ignoring it, with a deep sigh and a cup of Lapsang... I wish the windows were as interesting-looking as this font.

I know the kerning is waiting, it'll be done sometime in the future when my eyes have recovered from the weird  "Op-Art" effect.

I just wanted to know if you find this unusual enough to be classed as one of mine :)))

upper case font. Lower case c, e, g, h, j, k, o, q, s, y, z are alternates to their UPs. Alternate larger @ is on w ; an alternate "3" is on $. Unfinished font: kerning is incomplete but German is done also giving the ß, with alternates on corresponding LC . I'm publishing it to motivate myself, the parent font of this has been hanging about for a while and I hope that getting input rearding the general glyph shapes will encourage me to revisit the parent font

Alternative "Y" is on "y"

I found the original Spheretta-5,7 while looking for "dotty" fonts, to make sure that the font I'm doodling at the moment will look a little different from others on FontStruct. I liked Spheretta and as cloning was allowed by the creator I made some changes as Meek's many innovations enrich our creative thinking **smile**  The original font was created in 2011 by arseniiv.

I smoothed the circle, worked into existing glyphs where I thought 'necessary' (nudges, ~re~moved some dots in glyphs or added dots to reduce some gaps).

Comparing parent and clone: changes are a smoother circle, a few symbols, the Lower Case for Basic Latin and most Latin1 positions,  some operators/symbols are available with as well as without the UC circle. And that I have broken the 5x7 rule in some glyphs to improve their lines.

In the LC glyph style (no circle) you have: full stop, comma, all quotation marks on Basic Latin and Latin1, apostrophe, asterisk, plus, minus, solidus, colon, semicolon, percentage, less, more.

The low line is a blank circle; decorative dot arrangements inside a circle are on the tilde, left square bracket, grave accent.

The original (with a circle) can be found here: the "?" is on "{",   the "!" on "}",   the "-" on "reverse solidus,   the "=" on "]"

I've added arseniiv's name and this parent-Fontstruction's year of creation  on the first letter of the  ""Even More Latin"" band, then added mine on the second letter on the same band.  Feel free to add more glyphs (and your name and creation year, following ours), arseniiv allowed cloning so that we can add to his work. I follow his idea; and like him I, too, can't find enough time to continue working on Spheretta-5,7 for the next months.   It would be great to see Spheretta-5,7 grow some more ...

I based this font on the unusual lines of letters n, r and k I see on my mum's document folder, since I was old enough to be shown.

In the war my mum was a secretary in hospitals. When she was 21 she made friends with a Hungarian doctor there who helped her deal with the many terrors she saw daily, things most people never realised existed. He helped her survive and became her mentor and protector. He made her a beautiful folder for her documents and letters, from cardboard, kraft paper, inks and obsolete x-ray supports.

He decorated the folder with traditional designs - on the front of this folder he wrote Emlék  ...................  My mum used the folder until she died, just recently. My parents named me in honor of this man. 

This font is in memory of my mother and also of her protective angel whose name I heard too rarely to remember, and sadly my parents never managed to trace him after the war.

Alternate g=\, alternate k={, alternate m=I, alternate z=}, alternate UC ß=#

No samplers, sorry

Alternate M and W on their L.C. positions.

Beeinflusst von Kem Weber (1889-1963)

A-Z on capital letters, alternate Q, S, X, and Z on their lc positions.

It's based on a design I started in 2016 by doodling a few letters with a slight art nouveau look going towards the less ornamental art deco shapes. After the doodles and several attempts at getting a uniform look on the glyphs needed for German and French I felt that the shapes had no personalities-and I stopped experimenting. I left the font alone... and did other types of work. Until the Twentiescomp reawakened my desire to work on the style of this design.....

It's very basic; to be more useful I'll make it less 'decorated'. By reworking the silhouettes of the glyphs I created for the competition I'll achieve a more 'neutral' look , easier to use sparingly (for visual appeal) with less complex fonts

I was developing ideas and thought this one was worth finishing as it's experimental and a bit unusual. Sorry I can't find anywhere to give it a category.

Had an idea about a very basic design, breaking expected lines but in a way that makes sense without getting predictable at first sight, and adding varying widths to look interesting rather than strictly measured and correct. Feel free to add more punctuation, more symbols, more language support.

This is finished as far as I see useful for this competition. Based on Spheretta 5.7 by arseniiv from 2011 which I cloned quite a while ago as the uneven spacing-positioning of the dots on the ring could be improved with new fontstructor's features. I sent him a message about my clone but assume he hasn' frequented FS for a while, so he doesn't know about how I developed his idea and won't see that I've used part of his design in my "future comp" submission.

Based on the Covid-19 situation I know of in north western Europe: CONFINED illustrates the limits this virus imposes on people.

Nightpegasus' creative activities have been curbed for some time; with addition of this virus scare comes lack of interactions with my small support group and my creative output is even more reduced. As far as my FontStructed fonts are concerned this has imprisoned my enthousiasm and attacked my confidence in my abilities ...

Note that this font still has more glyphs to come. One of these days, possibly in April but more likely during the summer break.

I have worked on aspects of this design for a while and transferred the best glyphs to make **Confined**, expressing my thoughts and feelings in this font. But I can't see yet how to get the many missing glyphs to match this style.