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.
An old idea from the early 2010 put in their original colours. The lowercase repeats the same coloration from the uppercase changing the position to improve the artistic view of the typing words changing some letters. Just a silly font, enjoy it please. And Happy New Year 2022!
This is a clone of ztrange blk eYe/FSMoscow, 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.
ELEVATED (REWORK) - A 3D outline display typeface design with shadow effect.
It's inspired by the lettering from a sketch by great Dutch graphical designer "Jurriaan Schrofer".
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This re-work differs from Jurriaan's original sketch and my previous versions.
I changed the size to grid ratio, drastically reducing overall glyph size and increase stroke weight. The changes are optimizing the design, making it more suitable for digital display use. (more accurate 'print' version forthcoming).
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Due to the inexperience I had in my early days of FontStructing, and the lack of proper knowledge about raster scaling, I faced some serious issues regarding the correct size distribution. This made it impossible to include the diagonal lines correctly into that old version of the font, with the diagonals also having equal seporation and white space throughout the entire design.
So instead of making a clone of my previously published version "STF_ELEVATED" in order to include the shadow style variation into that existing family as a seporate FontStruction (like I did with most other style variations in my "LETTERS OP MAAT" series), for this one I decided to rebuild the entire typeface from scratch.
Putting all the style variations together into this single re-worked design.
Some extra characters were added to the set, making it a slightly more functional basic font.
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The shadow effect is the default style for this font, this also includes all numerals, punctuation marks and other symbols that make up the full font, these occupy the uppercase. The outline style A-Z glyphs occupy the lowercase.
Enjoy!
What would futuristic type design be without ridiculously wide letters?
Also looks great at narrower widths down to 50%.
(2nd entry to #FutureComp)
This is a cloneA continuation in the style of Genera and Genera Deux
Inspired by a type identification request over at Typography.guru.
During developement, the tool has taken over, also helped by the scarcity of letters available in the original, making the design more sans than serif, and with strong MICR vibes in some places.
The name means "shoe shop" (also shoe repair or shoe making) in Italian.
At the moment the language coverage is limited to Western Europe.
My first fonstruction is based around the theme of malnutrition, but focuses on lesser acknowledged end of the spectrum, over-nutrition. I took inspiration from nature of skin and fat on overweight or obese bodies, putting emphasis on the folds and bulges you might typically see on the skin of a larger frame.
Experimental 24-segment display or massive monochrome Mondrian matrix. Pixel compatible!
The thinking behind this one was that with incongruously sized segments arranged in the proper way, I would create a design which was effectively 5x5, but which accomodated more glyphs than 5x5 usually does. Negative space is incorporated into the structure of many glyphs, though not enough to classify this as an IVO design.
"Qualtron" is the name of an imaginary entity that a friend believed in - a being meant to represent the result of "a mathematical equation that can rule the universe". I didn't inquire further about it... :D
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Design Rules:
1. Segments can have interior length/width of 2 or 5.
2. The central 2x2 square must always remain open.
3. Square bricks and 90-degree angles only.
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Original size: 20.75pt (use multiples of this value for pixel perfection)
A multi-line design which is slightly reminescent of mazes/fingerprints. It's not designed to create functional mazes, but it is somewhat capable!
"Absinthelyric Print" is an anagram for "Labyrinthine Script".
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Original size: 11.25pt. Use multiples of this value for pixel perfection. (If you use antialiasing, it will look perfect at most any size.)
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Design rules:
1. Square bricks and 90-degree angles only.
2. Alphabetic glyphs must have open terminals; numerals and symbols must have closed terminals. Letters which do not terminate (D,O, etc.) must be broken so that they terminate.
3. Glyphs must fill the 15x15 grid.
4. Ligatures and combinatorial glyphs must fit into one letter's space.
5. Draw from the outside in.
A piece of constructivism inspired by Dutch artistic movement "De Stijl".
This is a clone of STF_FABRICON_(OUTLINE)Going for an industrial sci-fi look. The hard angles give these letters the appearance of being made by some kind of tape or roller.
This font was originally designed to be uppercase only. So, the lowercase might be considered as an alternate set.
Original size: 24pt (24pt, 48pt, etc. look most crisp when not using antialiasing)
CAPITAL LETTERS HAVE A WHITE STRIKETHROUGH. LOWERCASE LETTERS ARE COMPLETE.
TO GET THE PARALLAX LOGO (MY WEBSITE), TYPE “%.”
ALSO SEE THE TWO-DIMENSIONAL VERSION OF THIS FONT, “PARADOXICAL-VORTEX-FLATTENED.”
CHANGELOG
• 2017:11:30 — PUT THE STRIKETHROUGH ON THE CAPITAL ACCENTED CHARACTERS. ALSO FIXED A SPACING ERROR WITH THE “$” SYMBOL.
• 2017:12:01 — DUE TO POPULAR DEMAND, I HAVE ADDED A HUNDRED AND FIFTY NEW AND ACCENTED CHARACTERS.
• 2017:12:02 — ADDED EIGHTY-SIX MORE CHARACTERS, BRINGING THE TOTAL AMOUNT OF CHARACTERS TO THREE HUNDRED AND FORTY-ONE. ALSO UPDATED THE “¥” SYMBOL AND THE SINGLE ACCENTS.