This should have been a minimum font, but minimum can't do color.
The idea was to simulate transparency. After trying out multiple color hatch patterns, it was apparent that it is not going to work. The earlier attempts are left in the font for you to judge yourself their efficacy.
The file is pretty heavy because of having so many anchor points (times 8 layers). Scrolling will be slow. Because the next letter overlapping the previous hides part of the black outline, just outline glyphs are there to stack two layers (colored below, outline above) to get the correct effect.
Is there some trick to make the downloaded font to work in color? The version I downloaded comes as *-svg.ttf. Aren't the color svg fonts in .otf format? Thus, no sample.
STF_ELEGANZA (Therapy) ―Contemporary geometric humanist sans
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A font style, that while simplified by old tradition, saw new light by modern sophistication.
It comes in a solid medium weight that is very suitable for body style text with good readability, but it does perfect clean headlines or ads as well.
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The goal was to make a clean but somewhat more contemporary and playful take on a 'Grotesque' sans-style.
In an attempt to break away from the traditional trend of Grotesque type designs which evolved more around pure geometric shapes and aim for perfect circular, triangular or square shaped letterforms, that in return give many of them a somewhat harsch and featureless mechanical appearance, I choose to try and achieve the opposite, aiming for a softer, friendlier and more humanized feeling instead.
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Dimensions: (in grid units)
X-Height: 1 .625
Cap-Height: 1 .875
Em: 3 .5
Brick Size filter: 2 : 2
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This is the 'Therapy'-style in the 'ELEGANZA' typeface family. This version basically aims for the exact opposite effect than what the Tight' version did. The name 'Therapy' relates to its 'opened-up' appearence and the overall de-stressed propperties of this version. The more relaxed and spacious distribution remotely resembles the characteristic feel of a typewriter face. But the main purpose for this version is to create visual hierarchy in your layout.
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The other style variations can be found here:
ELEGANZA (Tight)
ELEGANZA (Tall)
I hope you like it...
This is a clone of STF_ELEGANZA (Tight)This font is a not too curious case. It comes after trying to prove to myself (with a high percentage of satisfaction, but not quite yet) that FS can allow me to create pro-looking fonts. I am thinking, for example, of zerena, zchreibengroß, zimmera, zenando, zenantoo, zanze, zinckel and others like that. Every time I finish a font that has taken me a long time to complete, I feel the need to look back and do something more relaxed and simple. Thus, without any pretense but feeling fun and friendly, zikiya was born. Hope you like it.
LITERA FACILIOR GOTI ― A 'Blackletter' script style with a twist
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Also known as Gothic script, Gothic Minuscule, or Textura, was a script used throughout Western Europe from approx. the 12th untill the 17th century.
This FontStruction was aimed at mimicing the aesthetic approach of a ― ‘Textura’ variant of the Gothic Minuscule script style, more accuratly refered to as ‘Littera Textualis’. This style is most characterized by its strong sturdy letterforms, with distinguishing sharp, straight and angular features as oposed to the other variations in this catagory.
In terms of authenticity to the original predecessing formal script family, my ‘Litera Facilior Goti’ didn't took a whole lot of care for authenticity. The idea was to take a more independent and experimental approach to shaping the letters and forms, so it wasn't necessarily inspired by any specific typeface in particular, it rather recycles certain characteristics of a ‘Textualis Quadrata’, but beyond those aspects of general guidelines it evolved on its own.
Some of the areas where the design tends to really stray away from the tradition is for example the serifs:
It's often that I have some trouble with the weight ratio distribution of serifs and such elements in simplified modular based geometric Blackletter fonts. In many of such designs they tend to have been left pretty static and equal in thickness throughout the full character set. Which I think is often either having some letters look clumsy or even weird, and generally speaking also often making them appear too thick.
So this was one of the things I had to try and adress, I experimented a little with the style and forms of the serifs. Eventually this resulted in multiple deviations in variety to mix and create a more dynamic distribution. similar to what was done in less formal scripts. Over time they became ever further simplified, letterforms that involved less reorientation of the pen, in pursuit of styles that were quicker to write.
But taken as a whole typeface I find that it is having this certain ‘random-ish’ characteristic that is simply working for the better of these particular style fonts.
I'm still working on improving its overall rhymes and reasons to a certain point that is acceptable, balanced and with enough consistency. But up to this stage I personally think that the concept worked out quite successfully so far. And that even despite the fact that its stripped down of most ornamental decorative calligraphic extravaganza, it still managed to capture a convincing portion of that ‘Medieval ’ looks and personal flavour.
But I think that in the end this became a pretty neat looking font and it would classify somewhere between a hybrid mix of simplified Blacklettering and a drunken man's ‘Textualis’.
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― No filters used!
Cheers!
This is a clonePrajna is a Sanskrit word meaning wisdom, understanding, insight. Simple on the outside, with some depth on the inside. Looks like it could be 1:1 bricks, but it actually uses a 1.5 sized brick width, giving it additional curvature that wouldn't be possible on a 1:1 scale.
I was supposed to release this a year ago, synchronous to the Peace 2.0 sculpture that was publicly unveiled which utilized Prajna to spell out "Peace" in 12 different languages. I like to think that since the sculpture was written with Prajna, it has a literal connection with wisdom, understanding and insight. I release it now with the hope that you may write with Prajna of your own.
The design process is typical in its atypicality (yes, it is a word, or, at least, should be!).
The atypicality necessitates the telling of the story behind it.
Looking for something to do...something easy to do, I came across the font shown 5th from the top in this article on Dieline. "I can do this," thought I. I did a 2 that looked similar. Based on that, did the 3. 5 6 9. 0 8. 1 7. "Hmm." Add the horizontal stripes. 7. 4? "No." Re-4? "No. Another 4? Perhaps thinner sides?" "Even thinner." "Hmm." Redo 1 2 3 5 6 7 8 9. "Maybe this is better. OK, lets do the letters." Start with Z because it is almost a 2 with minor curve tweak. Do the S. B because 3 is done. A. V. C. E. F L. J. Etc.
The glyphs so far have a 3 horizontal band appearance. Do the lowercase. a is two bands. b is two bands...but how high should the ascender be? Also, the x-height seems wrong. Off somehow. "Can I do a 2 band uppercase with the letter slightly taller. Maybe 2 bricks taller?"
Redo A. Redo B. "No this B is not working." Redo B. Redo B. Redo B. "Hmm. Maybe." Redo C D. Redo E F L. "OK, this might work." Redo to all uppercase letters.
Do the lowercase. "Yes I like the new f." Redo other letters to include the flip. Most of the letters are the same width. "Maybe I can make this a mono-space font." Redo m. Redo M. W. V. "The A looks odd." Redo A. And so on.
The font may have started as a simple thing but it is very different now. "I'll just publish it." "No, I should at least do the basic punctuations." "No this hyphen is too thick." Redo. "Now it is too thin." Redo. "Now it is too wide. But this is mono-space font. The width cannot be altered." +. "That just looks weird." Redo +. Now the - looks off. Redo -. Now they both don't fit with the rest of the font. Redo + -. "No. I'll come back to them." Do [. "No that's too heavy top and bottom." Redo [. Do (. "This needs a different curve." Redo (. "Can I use this new curve somewhere else?" Redo @. "Hmm." Do ©. Do ®. Do ™. Do “. "I can't make this so wide." Do ‘. "Definately cannot make it mono-space." Redo all punctuation to be their natural width. "This is no longer a mono-space font. Should I redo M m W w to be more natural?" Redo do m. "No this is too much work. I can't be bothered anymore. Let the m's and w's be."
"The punctuation looks niiice. Should I do a font to match these?"
Create New FontStruction
As you see, this is not a conventional font, it's more like a little picture game. Typing pairs of letters you can see some figures: AB = Dog, CD = Bockwurst, EF = Car, GH = Factory, IJ = Bike, KL = Truck, MN = Frankfurter, OP = Pinocchio, QR = Birthday Cake. But what happens if you write ASSSSB?... And with the others?... Try it and enjoy!
MIKITA - A "Chrome Script" style font based on the "Makita" logo type.
It is a simple 'semi' connected script, with only the basic character set. I don't feel like this requires having tons of typographic features. It is just aimed at writing simple things in this script style.
I hope you like it nonetheless
Cheers
KROEPOEK -Letterforms influenced by the orient.
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Simple geometry based design that tries to imitate Asian style letterforms.
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The font comes as a "all-caps"(majuscules) with the lowercase string used to include a set of glyph alternatives for the uppercase set, but cutting the descending parts of the glyphs.
As a little bonus, a set of underlined lowecase vowel alternatives (a, e, i, o, u and y) was also included to allow a small level of personal depth. These can be found in the Unicode block for: 'Halfwidth and Fullwidth Forms'
Besides the letters there is also a set of essential punctuation and symbols present to make the font proper functional.
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I hope you like it,
Cheers!
Based on an old glyph by the magnificent and always amazing Master geneus1. Caps only. You can find an extra A at the "a" glyph and a little C placed at the "®". See also the grey version.
This is a clone of zalida 3D eYe/FSWhat’s your favorite letter?
A 'do something easy' font.
An update of 2013's fs electronic
This is a clone of fs electronicALIEN WORMHOLE (BOLD) - Monolinear Sci-Fi-inspired 'worm' typeface.
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This is a 'Bold' style version to the "ALIEN WORMHOLE" type family.
This version has a ton of extra character compared to the 'Light' version.
For now only the two 'Basic Latin' sets, some symbols and a small number of puctuation marks match. And it remains to be seen if I can translate back to the Light version all those extra's that were put into this Bold version.
I mentioned 'type family' earlier, but in reality there isn't a whole lot of family just yet. Since the two for now hardly correlate truly.
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Here is a link to the 'Light' version
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Stay tuned for future updates.
Cheers
Unicase with alternates (a, e, m, n, u...). You can find also an extra "&" at the ™ glyph and a "c" at the ¢. Inspired on the wonderful Goliath (1970) by Vincent Pacella, but with its own personallity.
MODERN TYPEWRITER - Typewriter style Slab-Serif
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The idea was do a simple, clean and solid looking design that mimics the looks of a classic typewriter style typeface used for form fill writing style.
The rectangular shaped concept was carefully chosen to provide this nice mechanical looking forms, and to further enhance the technical style concept of this design.
Inspired by Bastard by Barnbrook Fonts and Minotur by cablecomputer
REWINDER - A bold and decorative "I don't have a clue" style font.
Alternative lowercase versions for (a, c, e, g, j, m, n, o, q, s, u, v, w, y, z)
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Usually I design fonts from a general concept I have in mind and start with the Latin alphabet first since I am most familiar with these characters. Then when I have completed these I start adding extra language support. letting everything evolve from there on out into the other languages such as Cyrillic or Greek. Doing it in this fashion I find myself having the best change of doing a decent job designing characters I am not familiar with the right way and in line with the design parameters.
This time I starten designing the Cyrillic alphabet first, trying not to think about the Latin set design at all. I did this in an attempt to have a neutral mindset that wasn't influenced in doing it a certain way.
And I must admit, this was the best and most comfi time I ever did a Cyrillic set. I experienced a sense of having a lot more freedom for creative output.
The result became this cool looking "hell knows" what kind of style letterforms. I have no clue if I actually did a decent and accurate job at the Cyrillic set, and I'm not sure where to go from here on out either.
I hope you like it so far
Cheers
STF_THUNDERDOME - A tall thin stroked Art Deco typeface.
I tried to create pretty simple, elegant but somewhat wonky geometric letterforms.
Inspired by the later 70's Art Deco Streamline period.
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This remains a WIP, many of the glyphs in the Extended-Latin set aren't reflecting their Basic-Latin counter-parts. The character set remains far from complete for now, and many changes need to be made still.
Kerning done only for a few pairs and overall balance therefor is still quite poor I guess.
Some 'more' detailed but derailed towards the end 'in-depth' recap of this font could be found bellow in the comment section.
Stay tuned for more,
Peace!
This is a cloneThis is zimmera without scratches, more usable for general purposes. Thanks to @frongile for encouraging me to add it here. Hope you like it.
This is a clone of zimmera eYe/FS