The FontStruct Poster was created by Lorenz Fidel Huchthausen aka Tylo, Christian Klier, and Rob Meek in Berlin in 2011. Lorenz and Christian are both students at the Kunsthochschule Weißensee in Berlin. The poster features 129 distinctive modular glyphs from over 80 FontStructors laid out on the FontStruct grid. The emphasis is on celebrating the more, minimal, “classical” style of FontStructing, so no FontStructions which employ filters were included. A FontStruction – Exampla Sans Medium by Shasta – was used for setting the key and other additional text on the poster, and proved how wonderful FontStructions can look in print if tweaked appropriately (thank you optical kerning!).

A limited edition of 150 posters was printed in October 2011 on 250g matt, coated paper by Pinguin Druck in Berlin, using the offset technique.  The posters are hand-stamped and numbered on the reverse side. 100 will be sold.

At 63.5cm x 100cm the posters are a few mm over “double royal” size.

As mentioned above, if your work appears on the poster (see list below*) you can use the coupon code “ONTHEPOSTER” at Etsy to get a 50% discount (on one poster only!!!). If you’re not on the poster, the poster is still a bargain at 20€. We’re based in Germany so shipping is not cheap  (5.40€ for Germany, 11.10€ for the EU and €16.60 for anywhere else). We’ll throw a few FontStruct stickers into the tube to hopefully compensate a bit for that. Please use the contact button on the FontStruct Etsy shop page if you have any questions about purchasing, including shipping costs for multiple posters (we can probably put multiple posters in a single tube).

The poster is an inspirational tribute to the fascination of the FontStruct grid and will make a wonderful addition to any FontStructor’s studio wall. Get them while they’re hot!

*Here are the usernames of FontStructors whose work is on the poster (in alphabetical order):

alexfulton, 3moDuDe, afrojet, andythebest123, aphoria, atarbeev, b boy stylez, bauermc, beate, bokuwatensai, cam.ill, caseycastille, CMunk, cwillmor, dczyz, djnippa, dpommella, eaq, Electric Keet, elltee, elmoyenique, Em42, emepar7, ex5s3, Font, fontcollector, Frodo7, funk_king, garphynk, geneus1, Goatmeal, gspace, gudbjorg_bubba, gueldenstern, guentersen, happypill, Helgi, hisham4444, igorrossi, inkway, intaglio, jcanham, jmarquez, JoeAllison, jpfaraco, jrdbnsn, JustinOperable, kekeh, kix, krystman, l3eer12, LexKominek, loboarches, Magic Sam, minimum, mrclash, nathancox, naveenchandru, nemoorange, Neoqueto, p2pnut, Parry, Qimplef, raiu, raketentim,redkitten, rixag, rubendmarques, saberrider, sbrunoj, Schafgans, shasta, Sketchbook B, sliveress, Snuggles, SquarePeg, ssaamm, strawberrymilk, swing_mr, thalamic, theterrible, TobiasMik, Tylo, Upixel, vertigokid, will.i.ૐ, zhuk

Dear FontStructors,
We quietly launched a new version of the FontStructor editor last week. So what’s new?

Expert Mode

We thought long and hard about the best way to add new features to the FontStructor editor without cluttering up the interface. Experienced users wish to create complex and sophisticated designs with FontStruct, but the platform has also always been about simplicity, ease-of-use and a non-technical approach to type design. How can we keep the interface simple and intuitive, whilst supporting those who want to push the boundaries of grid-based, modular design even further?

The new “Expert Mode” button is our answer. It’s there not only to provide access to bells and whistles for “experts”, but also to make sure that we have a “Simple Mode” for those (“experts” or not) who like to keep things minimal. Some existing features such as brick-stacking and composites have gone into expert mode, along with the first new features for a while.

Unicode Support

In expert mode, by popular request, you can now create letters using standard unicode ranges. Select “Unicode Letter Sets” from the “Advanced” submenu to switch to unicode and you will see the dropdown change in the bottom right-left corner of the screen. Unicode support is not complete at the moment but there are 19648 unicode code points available using “Unicode Letter Slots”. In the standard character sets, 2793 codepoints are covered.

If you don’t know, or care what unicode is, don’t feel sad or bad. In a simple, pragmatic sense it just means you can design a more diverse range of characters. You can still have just as much fun constructing letters in FontStruct in blissful ignorance of unicode.

Extra, extra guides

In expert mode, you now have access to an unlimited number of guidelines. Just rollover an existing guide to see the plus and minus buttons which allow you to add and remove guides. This feature has been requested many times and I’m very happy to be able to finally release it.

Guide-locking

Another new and useful feature in expert mode is guide-locking. Once you’ve arranged your guides you may like to “lock” them – this keeps them visible but fixes them in one place so they don’t react to your mouse cursor and they won’t get in the way of your FontStructing. There’s a menu command and keyboard shortcut (shift+J) available for this.

Note that guide-locking also locks the width control line.

Time-saving Commands

In expert mode, you now have access to a number of time-saving commands which automate repetitive tasks. There are commands to copy upper-case to lower-case and visa-versa, as well as a command to copy simple latin letters to their accented equivalents. You can read more about this feature as well as all the other changes on our updated help pages.

If you have any ideas for other time-saving commands, let us know.

Pen Type is now sticky

First of all, what used to be called “Mode” in the menu is now “Pen Type”. This is to avoid confusion with the new “Expert Mode“. The change in wording was a last minute thing (just now), so screenshots and help content may not reflect it for a while. More importantly, the “Simple” pen type, and the “Cycle” pen type are now “sticky”. This means if you choose either once, the system should remember that choice. So when you change away from the pen tool and back again, the pen should stay the same type. I know a lot of FontStructors don’t like the cycle pen so this should please them.

Anything Else?

Under the hood the FontStructor has been almost completely rewritten. Over the years, the inner-workings had become a bit spaghetti-like and this was making it extremely difficult to add new features. Now everything is clean, shiny and tangle-free we hope we can add features more efficiently in the future. The complete rewrite also means there is plenty of potential for new bugs to appear. So please let us know if you notice anything wierd.

Happy FontStructing!

(Screenshots show a clone of “Ohm Run Slab” by will.i.ૐ)

We’re very pleased that a number of FontStructions are featured in the latest edition of Slanted – #15 “Experimental”. Work from FontStruct intern Lorenz Fidel Huchthausen AKA “Tylo” was featured on the cover as well as inside.

Afrojet‘s “Brutal Exchange of a Smug for Some Faith” was also given its own spread:

Congratulations to those included.
If you want to submit work to future issues, check out the Slanted call for entries page ( in German and English).

If you want to edit a specific FontStruction in the beta version, go to the FontStructor and load the FontStruction as usual. Once it has loaded, go to the beta URL above.

Apart from a few minor interface tweaks, there are some new features.

Expert Mode

We’ve added an “expert mode” button which turns “advanced” features on and off – this is intended to keep the FontStruct interface simple by default, while allowing us to continue adding more advanced features for those who want them. You may notice that some existing features are now available only in expert mode.

Unicode Letter Sets

In expert mode, you can now select unicode-based letter sets from the menu, making thousands of previously unavailable letter slots available in a standard sequence. Note: some very large unicode ranges such as “CJK Unified Ideographs” are not yet supported.

Commands

In expert mode, there are some menu commands available to make some repetitive tasks easier. There are commands to copy upper to lower case and visa-versa, and a command to copy latin vowels and a few consonants to accented letter slots – in preparation for creating accented letters.

It’s a Beta

A lot has changed “under the hood” so there may be issues. You may want to work on new or cloned fonts in the beta, rather than your prized masterpieces. More information about the new features will be available once the beta replaces the old FontStructor.

Thanks for reading, and have fun!

It was especially hard work judging this time. Not only was there a record number of entries, but without the underlying coherence of an alphabet, the fonts often did not reveal their qualities at first glance. The judges needed to examine the entire character set, and look at the font at different sizes. Samples were also even more important than usual. The diversity of approaches to the brief taken by designers made it difficult to find common judging criteria, and about fourteen different entries were mentioned in the judges notes. Amazingly, despite this, three clear winners did emerge. Before we get to them, let’s review some of the other entries mentioned by the judges.

Pixel Worlds

Perhaps with half an eye on our special guest judge Kai Vermehr from eBoy, several FontStructors created pixel illustration fonts. “MI BARRIO TEPITO” by desvisible for example is a pixel sketch of the Tepito neighbourhood in Mexico City which drew praise from several jurors. It contained John Skelton‘s favorite glyph of the competition (the “j”), and Gustavo Ferreira wrote:

“I really like how he managed to encode his neighbourhood in a font using just a few glyphs. The characters are well drawn and have a lot of details and personality — it’s like a little documentary film in form of a font. The sample gives an insight into the ‘real’ world, and his (in my opinion very interesting) translation process. I also like the kind of honesty and pride expressed by the work, the fact that he chose this particular topic.”

Other pixel-oriented works included “Pixellian nights” by softhunterdevil with its haunting, inverted, pixel landscape, and Sketchbook B‘s awesome army of pixel robots “Dingbots and Monsters XL“.

Modular Portraits

Another group of entries worked within a classic illustrative genre: The facial portrait.

“Moustaches & Beards” by broti is an perfectly executed example of the art of pixel illustration. The designer’s response to community suggestions – adding, and removing(!) characters – made this entry even more special. “Indonesian Woman” by Adien Gunarta is both graphically strong and a wonderful introduction to Indonesian culture and traditional dress, while “Legendary” is a masterwork of brick-by-brick vectorization from FontStruct legend kix .

Happy Easter

A couple of designers took inspiration from the spring season. “Easter Eggs” contains 3 dozen imperfectly egg-shaped ideas, textures and patterns with bricks layed out by CMunk. “Hippity Hop” is a mad, break-dancing bunny from funk_king which I personally would love to see in animated form. In the sample above you can also see an example of Em42‘s quiet brilliance in the decoration and border FontStruction “Arancito Fleurs“. Tylo who made many of the samples for this post really enjoyed working with this design. It’s utility and beauty only becomes clear when it’s used.

FoodStructions

Some designers obviously FontStruct on empty stomachs. I imagine elmoyenique put together the hilarious “ztoasts eYe/FS” before breakfast, while “Pizza Pie” by LexKominek is for later in the day – a strong, clear and fun idea as well as a genuinely useful graphic resource, especially if you’re selling pizza!

And now to our three prizewinners.

The Winners

Third place and FontStructors’ favorite is “xe Micropolis“. What FontStructor has not dreamt of living in a city like this? In our chaotic postmodern world, how sweet to find this island of order and optimistic beauty. Well done xenophilius!

Second place goes to “Abneurone Neuroticons” by neurone error. Gustavo wrote:

“… very rich, weird, expressive, crazy alien cyborg shapes — lots of them. The samples show very well that he knows what he is doing: art!”

Congratulations neurone!

The clear winner of the competition is “Rise of the Cellphone” by anexasajoop AKA Pooja Saxena who will receive a copy of the FontBook. Gustavo wrote about the winning entry:

“A little masterpiece: well-researched and well-built, informative and useful font. I like how it is self-contained, a limited collection of existing iconic objects, like a small museum.”

The idea is very original and the designer’s illustration is quite brilliant. A great demonstration of how creating a good sample can reveal the true sense and quality of a FontStruction. Congratulations Pooja!

Winners will be contacted in the next few days, regarding prizes and sizes.

Many, many thanks once again to our judges who gave so generously of their time. Do check out their links to learn more about them and what they do.

Kai Vermehr (eBoy)
Stephen Coles (typographica, Fonts in Use)
Theresa de la Cruz (FontShop) – some great educational resources here!
John Skelton (Afrojet)
Gustavo Ferreira (hipertipo)

Looking forward to the next competition? I am!

The results of the judging will be announced on this blog on Friday May 13th.

The judges are:

• Kai Vermehr from eBoy
• Stephen Coles from Typographica and Fonts in Use
• Gustavo Ferreira AKA hipertipo
• Theresa dela Cruz from FontShop (creator of the first ever illustrative FontStruction “Kawaii!”)
• John Skelton AKA afrojet

They’ve got their work cut out!

After the great success of the first two FontStruct competitions, “Handmade” and the “SportsComp“, we’re launching our third competition with the theme of “Illustration” and more great prizes.

The Brief

Many FontStructors concentrate on designing alphabets and letterforms, but the FontStructor has also proven a wonderful tool for creating useful and fun libraries of modular illustrations. We’d like to invite FontStructors to take a brief holiday from the familiar comforts of the letter, and build some pictures.

Competition entries can be icon fonts, pictogram fonts for a particular purpose, or simply a series of illustrations, built as a FontStruction. Most importantly, no letters from real or imaginary writing systems should be included. Alternative forms of symbolic notation such as musical notation, braille or morse code will also not qualify.

You can take your inspiration from anywhere. You may like to take a look at the almost 200 existing top picks in the picture/symbol category – not all of these are purely illustrative (some would not qualify as they contain letters) – but here you will find examples of icon fonts, fonts full of wierd and wonderful characters, pattern fonts, architectural fonts, and fonts consisting entirely of sheep, cars, clocks, flowers, even moustaches!

Competition time period

April 8th – April 29th 2011

Competition rules

1. You must be a registered FontStruct user.

2. Your submission(s) must be posted and made “public” between April 8th –April 29th 2011. Although you are encouraged to share your submission(s) at any time between these dates, your FontStruction submission(s) must be public (marked “share with everyone”) no later then April 29th at 11pm PST. Additionally, your submission(s) must remain public until May 13th in order to give the judges enough time to review all qualifying entries.

3. Your submission(s) must be tagged with a “IlluComp” tag. (For fairness, during the competition time period, April 8th to April 29th, no FontStruction with the “IlluComp” tag will be awarded a Top Pick or be available for a Featured FontStruction pick.)

4. Your submission(s) must be downloadable. If your FontStruction cannot be downloaded, the submission will be disqualified.

5. Your submission must be a newly published FontStruction. Simply adding the “IlluComp” tag to an already published font is strictly prohibited.

6. For each submission, you must post at least one sample image in the comments of the FontStruction.

7. No letters in each submission can be MORE THAN 48 bricks high.

8. FontStruct cloning is permitted but the judges will be looking for original work.

9. You may enter up to three FontStructions to the competition.

10. This is a friendly competition. Cheering, favoriting and fun banter is encouraged but cruel and uncivil behavior will not be tolerated.

11. No rules regarding licensing. You may choose any Creative Commons license you like for your FontStruction.

Judging and announcing the winners

All qualifying FontStructions will by judged by the FontStruct staff and guest judges, including Kai Vermehr from eBoy, between the April 30th to May 6th. Three prizewinners (One winner and two runners-ups) will be chosen. One of these will be the FontStructors’ Favorite. Winners will be announced in a FontStruct Blog post on May 13th.

Prizes

First prize is a copy of the coveted FontBook from our ever generous sponsors, FontShop International.

The FontBook is the most complete digital type reference in the world. Since 1991, “the big yellow book” has been the trusted friend of designers, typographers, advertisers, manufacturers, publishers, historians, and anyone else who uses type.

Two runners-up will win their choice of one of the great t-shirts from the FontStruct Shop.

In addition, all winners will have their winning FontStructions posted as Featured FontStructions for two weeks starting May 13th 2011.

FontStructors’ Favorite

The valid entry with the greatest number of legitimate favorites at 11pm PST on April 29th will be one of the three prizewinners.

Spread the Word

Tell your friends. The button floating above every FontStruction is a really quick and easy way to point your friends and followers to your work. Maybe you can drum up some more  s for your entry in that way, or entice some novice FontStructors into the game.

Questions?

If you have questions just add them as comments to this post.

Let’s get FontStructing!

▲ “Slice The Serif” by Kathryn Evans Prosser (click images to enlarge)

Every autumn, some remarkable visitors arrive on FontStruct. For a few weeks, a great storm of creative energy rages through the gallery. Our servers creak and groan. Bricks fly in all directions. And then, as suddenly as they came, they go; leaving behind some exceptional FontStructions and, everywhere, the mysterious tag: UWE.

This year, we succeeded in tracking down some of the people behind this strange phenomenon. We asked them to tell us about their work, and they very kindly agreed …

Who are you, and what is UWE?

We are the course team on the “Communicating with Words” module at The University of the West of England, Bristol, UK. Module Leader Gabriel Solomons with supporting lecturers John Paul Dowling,  Jez Hattosh-Nemeth and Stephen Monger.

How do you use FontStruct in your teaching work?

The students who participate in the FontStruct project are in the first year of their three year BA in Graphic Design. In part one of the project they are tasked to choose one word from a list of themes such as “Dynamic”, “Reflection”, “Chaos” or “Decay” to then create a display face of at least 26 characters plus a basic set of punctuation. We encourage the students to spend time collecting information and materials from the environment. These will be used to inform the production of their digital typeface so they must consider how the materials generated (by sketching, photographing, etc.) can result in a modular, grid-based font. Students are encouraged to apply a wide range of image-making skills to the collection of their research. It is in the translation of these recorded visual elements from location to the making of letterforms, which provide the individual quality of the student’s typefaces.

The structure of the typographic education over the first two years of the course begins with the history of alphabets, moving into the anatomy of type, character design, typeface design, words, paragraphs, pages, spreads, publications while also looking to promote and enhance experimental typographic interpretations. FontStruct gave us an easy and accessible way to introduce type design at an early stage. Asking Level 1 students to use Fontlab and implementing the rigour of designing a full character set at the initial stages of a students graphic design education was decided to be too much too soon.

Did you provide any introductory training with FontStruct, or did you let students work it out for themselves?

Staff provided no introductory training. We simply directed them to the website tutorial page and showed them samples of what had been done by previous students on the course.

We actually found these elements a positive from an educator’s point of view. Students had to write descriptions of their work, thus improving their written design vocabulary. They had to learn to take criticism or praise from other members of the community. They gained confidence and showed great attention to detail in the work they produced knowing it would be on display for the whole world to see. The ‘Top Pick” and “Featured FontStructions” served as a reward, and external acknowledgement of the work they created. There seems to be a very engaged community of “FontStructors” on the site all helping to support one another with considered feedback, suggestions for improvement and problems or glitches encountered. Our students really engaged with this public discourse and have learned to see the huge benefits of taking an active part.

Many of the UWE project themes (Chaos, Decay …) seem especially difficult to interpret given the grid-based, modular restrictions imposed by FontStruct. Was this intentional?

Yes completely! We felt that if had we given them a brief which asked for the design of a modular typeface, the results would be quite narrow. We decided to go in the opposite direction and choose words with an often ‘organic’ interpretation to see how far they could push their solutions using a grid-based system. Students had to begin their process “offline”, exploring the theme in the real world. Some initial sketches and ideas were often impossible for us to imagine resulting in a grid-based font but the students regularly came up with methods – many of them ridiculously time consuming – that would enable their ambitious ideas to translate effectively.

You’ve been running courses using FontStruct for 3 years now. Have you changed your approach to using FontStruct over that time?

Not really, the brief has remained much the same. Over the last 2 years we introduced the option of a type specimen book alongside the poster option for a final outcome. The work has developed and improved over the years building on the strengths of previous year groups and the healthy competition of producing stronger work than the previous cohort of students.

FontStruct is used by schools and colleges throughout the world. Can you explain why the students at UWE produce such a consistently high standard of work? Maybe you have some tips for other educators?

Start with pen and paper. Research, research, research in as many and as vast subject areas as possible. Design on paper without the worry of how you will turn your design into a fontstruction. Use grid paper when first progressing your initial sketches into designs that will work with the modular system. Study the tiles and blocks, understand how they work on the grid system. Then and only then move onto Fontstruct and figure out how you can best stay true to your initial designs using the application. Once this has been achieved the typeface needs to be put through a number of iterations utilising feedback from staff, students, peers and the FontStruct community.

What’s the student feedback like for course modules which use FontStruct?

Students on the whole are really enthusiastic about using FontStruct. There is a real sense of achievement gained by using the program and a boost to their self confidence, especially when feedback is positive from the FontStruct community. There is often real surprise from some of them upon completion of the initial 6 week project – the fact that they have all created a new working typeface from scratch in such a short time and that other designers around the world are genuinely interested in and enthusiastic about their work.

What do you think are the advantages of using FontStruct in teaching typography and graphic design?

The simplicity of using the program is a definite plus. Students can quickly get a grasp of using FontStruct, which also effectively teaches them about the building blocks of typography and the elements of type design. Learning about the subject from books and admiring the work of others only goes so far in engaging students in what some still consider to be quite an esoteric strand of graphic design (type design). FontStruct really does help students take that initial step and rewards their ambition (for display types at least) in a way that some of the more industry standard type building programs can’t.

Is there any particular feature, absent from FontStruct, which you think might be useful for users in education?

Oh yes, if we could have some OpenType features. For instance where a number of different options could be design for each character and have some form of randomising code for output. Also some in-application kerning would be useful.

Thank you!!!!

Thanks to all students and the course team on the “Communicating with Words” module at The University of the West of England, Bristol, UK for taking the time to give us this interview and for sharing your wonderful work on FontStruct.

Module leader:

Gabriel Solomons

http://gabrielsolomons.com
http://twitter.com/gabrielsolomons

Supporting lecturers:

John Paul Dowling

http://johnpauldowling.com
http://typenowhere.com
http://twitter.com/typenowhere
http://issuu.com/typenowhere

Jez Hattosh-Nemeth

http://www.uwe.ac.uk/sca/staff/hattosh.shtml

Stephen Monger

http://www.uwe.ac.uk/sca/staff/monger.shtml

Over the last few weeks, FontStruct intern Lorenz Fidel Huchthausen AKA Tylo has been busy designing and testing some great new FontStruct T-Shirts. Here he is sporting the “T-FX 361331″ design which showcases the wonderful “fs I Square” by minimum. We thought it would make sense to offer some merchandise which showed off the talent of FontStruct designers, to compliment the existing products based on the FontStruct logo.

All money raised by merchandise sales will go directly towards the development and maintenance of FontStruct – so buying a T-shirt or a bag is a great way to enhance your wardrobe and support the site.

Here are some pictures of the new tees.

T-FX 251673 using abstract letter patterns by Cmunk

T-DD 249030 using Bat Country by loboarches

T-FX 361331 using fs I Square by minimum

Two shops

We now offer a choice of two online shops. There’s http://fontstruct.spreadshirt.com based in North America with prices in dollars, and http://fontstruct.spreadshirt.net based in Europe with prices in Euros. The products offered, the pricing and the shipping costs will differ. Normally users in the Americas and Asia are advised to visit the North American shop, while those in Europe should visit the European one. A full list of shipping destinations and shipping costs can be found here (for the North American shop) and here (for Europe).

We’ve also introduced a simple product coding system, mainly to allow users to differentiate between the different printing techniques used for the merchandise. Products are coded like this:

T-FX 361331
(type of product)-(printing method) (font id-number)

All the merchandise is printed, sold and shipped using Spreadshirt. Here’s some information about their printing techniques:

Flex (FX) is a printing technique where the design is cut from a colored foil and then pressed onto the shirt under high heat. Flex printing is suitable for vector graphics and the results are extremely durable. The colors are strong and saturated colors and shapes have sharp edges.

Digital Direct (DD) is a real print with the design sprayed directly onto the apparel, so the contours can be a bit blurry in comparison to Flex and Flock. Colors are softer and will fade more quickly than other techniques but some people (including myself) may like this effect. One advantage of digital direct is that it allows us to print fine lines and small text.

Flock (FK) is also a foil like Flex, but it has got a velvety surface.

Happy shopping!

Thanks to everyone for another wonderful and creative year of FontStructing. FontStruct continues to grow and flourish with more than 350,000 FontStructions in the database and almost as many registered users. More than 15,000 original font designs are now being shared, and can be viewed and downloaded from the gallery.

New Advanced Feature: Brick stacking with Composite bricks.

As a small seasonal gift, we’re rolling out a new advanced feature allowing users to create even more custom brick shapes: You can now stack “composite” bricks on top of other simple or composite bricks. If you’re not sure what “brick stacking” is, or what “composite bricks” are, please read this help article first. Here are some examples of the new feature at work, creating new bricks:

– The original simple bricks are in grey. In yellow are composites. The stacks, including composites are in black.

Here’s a more practical example, based closely on one kindly submitted by riccard0:

– The stacked composites are in black. (Thanks too to aphoria for his example of another situation in which stacking composites could be useful).

I’m really looking forward to seeing what the FontStruct community can do with this new feature. Please let us know about any problems.

Two caveats: You still cannot work the other way around i.e. you can’t make composites using stacked bricks; and there is still a limit to the total number of simple bricks that can be involved in a stack – Until today it was 6, now it is 12.

What else is new?

Since the start of the new sponsorship deal with FontShop and the adjustments in legal ownership we’ve been busy moving servers, switching domains and other unglamorous, technical twiddling. As some of you may have noticed, we’ve also added some advertising to the site. I hope you find all find it unobtrusive, perhaps even interesting. Either way, carrying advertising should cover most of the server costs and free up money for maintaining and developing the site.

You may also have noticed a selection of typography and design-related Amazon products appearing in our “Bookshop” on the right-hand side of many pages on the site. If you ever want to buy a book at Amazon (even if it’s not one which we display), please do start shopping by clicking on one of our links – then FontStruct will get 4% cut of the profit.

Finally, and most importantly

Happy holidays to everyone!!!