Cross-stitch version of my zhowfrakt font, made for a personal project. I hope some grandma likes it. :D

Truchet tilings. The tile sets are at the bottom. The patterns are random compositions or reproductions of existing ones.

This is my little contribution to the fantastic recovering universe
called LETTERS OP MAAT by the great @Sed4tives about the typographic world of the dutch artist and typographer Jurriaan Schrofer. Btw, I sincerely apologize to @Sed4tives for the undue delay and the time it took to publish this exciting addition to his magnificent series (I'm sure he thought I'd forgotten, didn't he, comp4ñero?). Hope you like and enjoy these two fonts in one.

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GUIDE TO FIND GLYPHS:

- Curved left unicase: A to Z + Ç, Ñ, Æ, Œ.

- Curved right unicase: a to z + ç, ñ, æ, œ.

- Curved left numbers: 0 to 9.

- Curved right numbers: for 0 type %, 1=<, 2= =, 3=>, 4=[, 5=], 6={, 7=|, 8=}, 9=^.

- Other curved left glyphs like ., , , ”, ’, ', ?, !, @, $, &, (, ) and -: in their own glyphs, plus :=/.

- Other curved right glyphs: ”=“, ’=‘, '=", @=*, &=#, -=+, .=:, ,=;, $=`,:=\, ?=¿, !=¡, (=_, )=~...

... The work still in progress (diacritics in the oven)...

An old project put a day.

Black (filled) version of zerbeer. Hope you like it.

PS Mockup: Narim Hem

COMIC NOUVEAU — Script inspired Art Nouveau style

This is my entry in the NumbersComp...

I'm sorry that it does not live up to my standard, but I simply don't have te time to be a contender this year. My entry is only because I know I would be mad with myself when I wouldn't submit at least "something.

Cheers, and good luck

Based on the font 'Kettler' (Eric Olson, 2002), which in turn is a tribute to the great 'Courier' (1955) by Howard "Bud" Kettler. As often happens to me, this recreation was born from the attempt to improve some characteristics of the original glyphs that I considered appropiated, in addition to being able to have a personal modern typewriter font. The monospace of this kind of letters has been a bit relaxed on this occasion. PS: Thanks for the helpful hand from @Sed4tives!

Twin brother of zeronda, with more spectacular and rare large serifs. This font is a pretty little thief to me: with its big serifs it stolen my heart. It was love at first sight, as soon as I started I couldn't stop adding them to the glyphs. Only caps/unicase, also includes an "a" and "e" alternates... and a little "c" in the "¢" glyph. Kern in progress. Enjoy.

a little something I had in my head for quite a while already, finally decided to try and make it in Fontstruct.

No kerning done right now, but maybe some time later I'll do it. though even without the kerning it looks nice in my opinion.

Feel free to clone and see how it was done. (some glyphs like { are quite messy though)

also may redo some glyphs in the future.

UPDATE: cyrillic done

VON NEUHAUS — Geometric “Bauhaus”-inspired style
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This is the latest evolution of a “Bauhaus”-inspired constructivist style typeface design that originally started 5 years, or two font versions back.
To me personally this is a long awaited triumph, that has finally materialized after years worth of been haunted by this idea, and the crazy speculations about this ghost that would never be...
Well, that was untill now...  So at last, I can now finally proudly present to you this latest of arrivals to come from this unforeseen series of typeface progressions.
This newborn addition is in fact the 3rd phase of this letter concept's evolution, and caused the font project to undergo a series of addaptations that graduatelly increasing the levels of sophistication possible by chaging it's internal structure and behaviour within the FontStruct-editor. This 3rd addaptation unlocks the FontStruct editor's “Expert Mode” full power potential.
Enabling all editor functionallity to provide the most versatile font creation capabilities available within FontStruct.

STF_BLAUHAUS was the font's very first version, created back in early 2019. It's the font's original concept as it innitially was first intended. It essentially started out as a personal study into the design of letters on a small grid. And more importantly, the creation of required composite bricks to do so.
The idea back then was to craft the most complex geometry possible without the use of any “Expert Mode” functionality whatsoever. Now, what this innitially did was still quite novel to me at that time, as this had led to the development of a FontStruction that was solely built from the extensive use of composite bricks. Not just a couple, but a staggering 272 composite bricks in total. Many of which in fact are quite intuitive and required certain amounts of careful thinkering with the maths found in it's geomtry to craft these custom brick compositions.

So as explained above, there was no use of any of FontStruct's “Expert Mode” functions. This meant that the option to nudge, flip or rotate any of the bricks wasn't available. Now this changes everything in respect to building complex fonts, since in order to get all the bits and pieces of a letter such as: crossbars, intersections, curves and corners properly aligned requires, a precisly fitting composite brick to be tailor-made. In terms of the FontStruct limitations, this cause the physical properties of FontStruct's brick composition tool to be fundamental as to how much complexity and refinement can be put into it's letter geometry. In other words this is fundamental as to how well crafted the design is going to look in the end, since there is no option to further manicure shape or form other than from within those bounds of the adjacent 16-brick-array grid squares of a selection for composition.

I've choosen to design the alphabet concept in this “Bauhaus”-inspired geometric style, simply because of the simplicity this style has in terms of its basic pure geometric forms. The final result became this simple and bold looking small grid display type with a “3-bricks” Em-size only.

but it had some crucial compromises that had to be made due to FontStruct's design limitations. Not terrible, but not quite perfect either.
One very important byproduct from this limitations as were described above was a huge collection of very intuitive custom brick compositions that offer seemless alignement and perfect fits, basically an extensive set of custom bricks that work in a very similar fashion as FontStruct's default “Connect” bricks.

Bringing us to the main reason for 2022's version of this font.
STF_BLAUHAUS (Plus) was the font's second version, and most recent state that it sat in for the last year, up till this now. In this 2022 version of the of this font design modification the FontStruct editor's “Expert Mode” functionality was introduced into the design. Hoping to further manicure some of these compromised critical area's in an attempt to see what refinements could be implemented to revise the 2019's original version.

Now that the option to nudge, flip or rotate bricks was available, new more complex geometric shapes suddenly became possible. This sparked an explosion of new characters and additional alternative forms. Although now the FontStruct editor got vastly more versatile and potent, it remained strongly limited by that still present 1:1 brick size filter setting. Nevertheless, this made possible a very substantial update of the older font, and allowed many new shaping capabilities.

STF_VON NEUHAUS is the 3rd and final evolition to have come from my earlier FontStruct endeavours; STF_BLAUHAUS and STF_BLAUHAUS (Plus)
This version  basically saw the transition from a font only using 1:1 brick size filter into a font at 2:2 brick size filter settings to unlock all power potential of the FontStruct editor's “Expert Mode” functions.

I could now write another eqyually as long body of text, explaining what's new in this final version or which other improvements were made, or say about it whatever the hell I want, but I figure that the picture becomes even more apparent when simply comparing the 3 fonts from old to new, and see the evolution happening before your eyes.

Start with STF_BLAUHAUS, folowed by STF_BLAUHAUS (Plus), and witness the full glory of "next-level" FontStructing that made possible the last version STF_VON NEUHAUS.

I hope you like it,

Cheers

BEACH RESORT — 1920s Art-Deco style
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Beach Resort is a tall geometric display sans inspired by the Art-Deco aesthetics.

It's condensed style makes up for a rather tall and narrow looking letter concept. The design is further characterized by this distinct asymmetric curve geometry. A tiny touch of stress was added on the vertical axis to create this gentle stroke contrast. The stressed weight of the horizontals automatically compensating it's optical correction issue.

— Only minimal kerning for now, more will be added soon

Hope y'all like it,

Cheers

Only caps/unicase font. Also includes an "a" and "e" alternates... and a little "c" in the "¢" glyph. More kerning work is in process, btw.

VOLLE BUISJES — Geometric sans-serif style
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[ INTRODUCTION ]
This font had derived and materialized from my previous FontStruction called Buisjes, and had innitially been planned to be made into this “solid”-style instance that would've then were to be combined and included to the original master font. That idea was later canceled when I decided not to make this part of the “Buisjes”-typeface.
I still went on completed it though, but I was now simply treating it as this unrelated new font instead.
The original “outlined”-variant still stood testimony in this second stage of development, as it served as the global basic backbone for this. But, since it now no longer was bound by accurate representation I could start utilize more dynamic sculpting techniques and make minute adjustments that incnclude some optical corrections, as well as implementing a slight more polished looking geometry.

[ TECHNICAL BACKGROUND ]
I took a clone from “Buisjes” and started modifing it into this new solid style. What I basically did was utilizing the “brick swap”-method in the FS-editor to replace every brick inside the font's “My Bricks”-palette. By doing so, essentially converting the font one-brick-at-a-time into this 1 : 1 conversion of its source without making any additional changes to the actual glyph-contours.

After a while due to some undesirable result that came from replacing the original bricks the design took a different turn when I started realizing that making an exact 1 : 1  conversion into this solid style wouldn't generate the most desirable looking font. This new solid version that was rendered from the “brick swap”-process seemed to have several optical complications, that when compared to the original outline version, had quite the different effect on its physical properties as well as the aesthetic quality of the letterforms, and had far less visual appeal. These newly presented optical misfortune also had a direct negative effect on the font's legibility. In oder to gain a better understanding as to why it took a toll on legibility some additional thing needs to be explained first, to make sense of it all later. This explains in short the visual effect of added contrast that comes from that “bi-linear”-characteristic nature of the outline version, which employs so much more emphasis to the font's overall geometric properties of various form, and therefor to the contour shape of a glyph. In return this has a direct impact on the overall effectiveness of these forms.

The reduction of this additional contrast within the font's “positive vs. negative”-whitespace balance for the solid version results in a letterform that has a rather weak representation of its several typographic components as well as for each of the individual letter-parts that form a whole, which also help to distinguish one letter from another. In simple words this means that a solid style lacks a lot of that emphasis that is present in the the original outline version, and makes for a far less pleasant and effective font.

Another issue I had with the 1 : 1 identical conversion was the unanticipated but pretty drastic deterioration of its initial “wow”-factor in the solid version that was generated. No longer beneficiary from additional added value that came with a more “decorative”-characteristic that  is present within a outlined glyph contour. Also the “bi-linear”-nature of the outlined letters sort of gave the impression it was putting double the emphasis to the typographic parts and the geometric properties that make up each letterform. The rather squarish “box”-like characteristics of the lettering became much more evident in the solid glyph face. Shifting visual focus from the previously more ornate display attraction away towards this more “mechanical”-style that is this rather plain and somewhat shallow looking flat faced letter.

All of these were things that worked out just fine in the font's outlined version, but not so much in terms of a solid “filled”-like style.

Here are some of the things that cause trouble within an exact  1 : 1  conversion into solid bricks:

 • Enclosed typographic elements render much thicker than what is considered “acceptable”
(requires optical correction)  

 • Diacritics render too thick and often too big
(requires a complete re-design)  

 • Radius of FontStruct's default solid circle arc connection brick is too small
    ‣ Making a solid font constructed from these to look compressed
    ‣ Arc intersection point not sitting deep enough
 • Reduced emphasis in depth of geometric form
    ‣ Simple rather “feature-less” and “squarish”-looking geometry
(both requires numerous custom composite bricks in order to break-away from these constraints)

— The combination of the above in terms of the appropriate adjustments required to make optical corrections in order for it to have balanced proportions will have such significant impact to certain aspects of the physical presentation of the letterforms that they no longer share that seamless overlapping cohesion, and it couldn't really classify any longer as being this solid / filled style instance to the original master font.

That wasn't all (LOL) but yeah I'm done typing for now!

Hope you like it, more info follows..

Cheers

This Fontstruction is a joint venture between Dmitriy Sychiov and myself, Sed4tives.

A while ago I had the concept basic forms for this design pre-published in an effort to try and reach out to y'all, asking if any of you was interested in joining me in this attempt to create a multi member community collaboration.

The original idea had I invisioned at that time was; presumptuous that most writing systems have two parallel sets of letters that can be used to distinguish between upper- and lowercase. That hypothetically could than be divided in two separate "Half-A-Bets" (oopz, lol). One one for upper- and a second for lowercase. Allowing two Fontstructors to each choose their own designated section within that specific language. But enthusiasm quickly reached critical mass, making a mild gesture go ballistic and somehow sketched this crazy wild idea of having multiple participating parties that each reserved one-half of a language within one of the several designated ranges for the Basic Multilingual Planes (preferably within their native writing system if possible), and in turns to each have them supply the glyph set for their section.

Oh, and  "Sweet mother of a blind gekko", boy what was I wrong, as eventually only one Die-Hard going by the name Dmitriy hooked up with the project in the end.

So hereby I proudly present the results of this combined forces:

"Gesamtkunstwerk" — A Futuristic sci-fi stencil sans

The philosophy behind the FontStruction was to publish the completed font with open font license (so that it is clonable). Feel free to redistribute/share, clone, learn or even refurbish mash-up and re-publish your version.

— [The original collaborative project is now closed for any new participating parties, sorry!]

Some small things still need additional work, such as kerning (which is incomplete and remains a WIP for now), Cyriillic script still missing uppercase set. All of this is scheduled to be included soon, so stay tuned..

hope y'all simply enjoy it so far nonetheless!

Cheers

Feeling inspired after reading Arcade Game Typography: The Art of Pixel Type by Toshi Omagari, I set out to make my own 8x8 pixel font. I worked with a similar approach to the one I used in the larger grid font offstruct rgb.

First started in Adobe Illustrator, each character consists of three iterations of the same 6x6 pixel letter: in RGB Red, Green and Blue. These were layered, offset by one pixel diagonally, filling the 8x8 box. To achieve additive blending, I applied the "Lighten" transparancy setting. Combinations of overlaying these three primary RGB colours result in the secondary RGB coloured pixels Yellow, Cyan and Magenta. In the additive mixing of coloured lights, the equal blending of all three primary colours results in White. All pixels were then entered manually into the fontstructor and black pixels were added for display purposes.

LORD KRUMBLE — A transitional sans that mixed Art-Deco with neo-classical humanist minuscules

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Inspired to celebrate the homecoming of him who strikes fear in all badly baked treats, the one which nightmares are made of, that kind of person that makes every cookie crumble and wanna skip school for a day or two. Of course I'm talking about the one and only "Cookielord".
— "What couldn't be better suiting than to have a freshly crafted and new font that is celebrating his return."

Him recently dropping a new FontStruction somewhat came as a pretty unexpected but nice surprise. It just so happened to be that I was already looking for new ideas that could lead to the next project. In fact, until recently I was actually still struggling with this, and hadn't really been able to provide a catchy and motivating design theme to bring to the table that would once again help me on my way with starting a new FontStruct project. So I took this occasion to see if I was able to find a little inspiration in his Vermin font . Not particularly aimed at doing a derivative work, nor anything closely resembling his cool font. Instead rather trying to draw some inspiration from that peculiar and playful but friendly characteristic, that to me personally distinguishes his Vermin font the most anyway.

╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍

And so I appoligize for the fact that this doens't truly relates or do justice stylistically in any way to the aesthetic present in Cookielord's original Vermin font. That being said, this is what became the end product of that.

But, it does have one striking resemblance that pays a homage to him, and that is the included cookie. Sorry I took a bite out of it my friend, hope you can still appreciate it.

— Just to let you know that regardless wether you decide to stay or not, your recent return isn't going to be for nothing!!

╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍

No 'Brick Size' filters were used, which of course presented me with a lot of challenges that limited the amount of complexity I was able to put in, something that wouldn't been the case with (2:2) 'Brick Size' filter settings. The other noteworthy aspect to this particular fontstruct is its grid size, which is tiny. Never before have I made a Fontstruction that required kerning values to fluctuate only as little as 0,01. This also made it impossible to implement optical corrections on the vertical axis in the form of overshoots, but luckily this didn't became a very clear issue in the end.

I'm not sure if I can complete the additional Latin accents for all characters due to the limited grid space available surrounding some of glyphs. I might try doing those later.

Let me know what u think of it so far fella's, stay tuned!

Cheers