BENGALIQUE - Contemporary grotesk type
A condensed geometric Grotesque style, that at first glimpse looks somewhat simplistic. And for the larger part this is true. The goal was to do a ever so slightly spiced up take on this 19th Century classic style.
At it's core, the letterforms have this strong geometric grotesque backbone that is easy to recognize.
While trying to preserve that unpolished characteristic classic Grotesque basic form, I attempted implementing some personal twists, hoping to make a more contemporary but faithful variation to it's crude classic renegade traditions.
Some of the more distinguishing features for this font are it's heavily condensed style, the somewhat quirky curvatures, overshoot and/-or tapered ends in certain 'sweet spots' on a glyph's leg or terminal.
At random some legs will also ascend and descend just a tiny tad bit, gently adding this extra layer of dynamic depth and playfulness.
Spurs are slightly tapered, counters, negative spaces are in mostly rectangular and do not mirror their convex outer curves, in fact the only concave curvatures within a partially enclosed negative space are those that have strokes intersecting or when a curved shape is used to replace diagonals.
(such as; "B, Kk, Ss, Xx, Y, Zz" numerals; "2, 3, 5, 8")
Note that a couple more unmentioned characters make use of concave curves as well to accentuate specific choices.
(such as; "R, t, ß, etc.")
Visual corrections and optical compensating was exclusively performed on the top part of the glyphs, not their bottom.
-- Some additional side-bearing and kerning is still required --
No filters used...
The font works best for 'Display Type' at most point size. In smaller quantities it can be used for 'Body Type' as well with some proper adjustments to the horizontal spacing. But, nonetheless the font's condensed nature, it's tight letter spacing and some thinner strokes still heavilly affect the flexibility for legible Body-Type-use.
Recommended size for Digital-Display-use is 28pts or higher, and bellow 20pts the font becomes unreadable in Digital-Display-use. But I hope you like it so far, and feel free to let me know what u guys think! ?
That's all for now folks..
Cheers
BACK TO THE FRAKTUR - Modular geometric calligraphic blackletter
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Calligraphy inspired design, that even though it's name can be deceptive, suggesting one in thinking it is a Fraktur derivative. Which is actually quite not the case, and as far as being a calligraphic Blackletter inspired work, the similarities between the two stop.
This is a heavily simplified and geometric take on the calligraphic style, with much more modernized letterforms as well.
It remains a WIP, but I'd love to hear what u think so far.
Cheers
What’s your favorite letter?
Opening day of Marvel's "The Marvels" movie! Couldn't resist making a chibi version of Goose, the Flerken from the original Captain Marvel film. #StrongestAvenger
This allcaps font is meant to be used starting with a Capital letter, then lowercase letters following it. But no one will listen, will they?
This is a cloneThis font was created around the theme of decay. I took inspiration from shapes and forms within the pieces of a badger's spine and manipulated them to construct the alphabet. Here is my blog :) > http://hollydennis.tumblr.com/ website> www.hollydennisdesign.com
A tech-like font inspired (one more time) by some glyphs from Insider Bold, a work by the prolific Dmitriy Sychiov.
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
Caps only font. You can use the glyphs placed at the lowercase to add a different second letter in pairs like EE, FF, LL, NN, OO, SS, TT, ZZ, etc. and to avoid graphic repetitions in a single word or phrase. Extra "c" at the "¢" glyph. (NB: To create this one I have greatly exaggerated the method used by my admired Beate -sorry, Maestra- in her font db Whisper, which successfully simulated hand-drawn letters.)
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
Inspired by a font I saw in a children's book. The artist had drawn a map of the world on canvas and used a tiny serif font to label important points on the map. The letters had such a cute hand-made feel to them that I just had to recreate it in FS.
Uppercase letters are 6 grid squares (3 bricks) tall; lowercase are 4.5 (2.25 bricks). IIRC nudging had recently been introduced; this definitely would have been impossible without it.
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)TEFlonALuminium — A contemporary geometric sans-serif
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Inspired by the brand logo for French kitchen and home appliances company 'Tefal'.
The font is an extrapolation from the five letters that make up the original logo. I have made some small changes to certain characters to make them more suitable for a full font and body copy text format.
I hope you like it..
Cheers
This is a cloneMoscow, Paris, Berlin in the 1920s... Konstruktivizm, Art Deco, Bauhaus... Effervescent people! This font is for Sergei, the smiling boy in the picture, and for all the people who together built the world. See also zandrine and ztefan.
VEROORDEELD - A geometric slab serif
This is a small type family with two style variations, see links bellow!
• Display Bold contrasted display version ◄- U are here!
• Text Light weight monostroke version
Accidental Fontstruct remake of Senator by Emigre. Initially reconstructing the lettering seen on this book cover, later found out about it being an existing comericial font. I decided to completed it anyway. But for this reason it will not be available for downloading. Sorry...
Inspired by Bastard by Barnbrook Fonts and Minotur by cablecomputer