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STF GROOTESK Pro ― Contemporary geometric grotesque
A clean and geometric grotesque sans-serif typeface that is equipped with tons of extended professional editorial typographic features,
Multilingual support in 3 script writing systems for 113 languages, glyph alternative forms, stylistic ligatures, accents and punctuation marks, symbols, technical, ordinal, pictographs, additional dingbats.
15164 stored kerning-pair and many other professional features!
[ TECHNICAL ]
■ Metrics (in square grid units)
5.0-Em / 0.5-Stroke
2.0 : 2.0-Brick Size Filter
Overshoots: 2 × 0.0625 Top/Bottom - (uppercase only)
■ [ ADDITIONAL EXTRA IMPORTANT RELEASE NOTES ]
Previously published as a (non-Pro)-version with the same name.
But when that version eventually corrupted, it rendered it useless.
And after several repair attempts the innitial isolated "FS-editor" native
brick corruption eventually was fixed! But from this point onward all theFontStruct-generated-*.TTF-files downloaded from this particular FontStruction delivered a broken TrueType-font file, that upon its installation process resulted in having a error. Leaving me, or anyone for that matter who had downloaded it, unable to get it or its updates installed.
So after unsuccesfull struggling for a while I noticed that the cloned version didn't generate a broken *.TTF-file. So I decided to terminated the original FontStruction and delete it.
■ [ DESIGN INFORMATION ]
The main inspiration came from those early to mid-20th century geometric grotesques, and visual environment of that era.
Although the characters were mostly geometrically constructed, and remain as close as possible to basic geometry, "STF GROOTESK Pro" includes a blend of stylish hints of hand-crafted lettering influences and intentional irregularities in order to tribute those classical geometric designs.
For extra additional emphasis the design tries to take advantage of a rather unusual vertical Uc>Lc proportion, with ascender parts of the 'Lc' characters sitting well bellow the cap-height, making the 'Uc' appear strikingly taller in comparison. Essentially providing the uppercase with a more "Condensed" feel. Some of the other characteristics of the design are it's sturdy and stylish yet clean presence, with little to no contrast, and it comes in bold style only. But to compensate for the lack of extra weight versions there was some serious time invested into additional testing and optimizing the entire typeface. So it is super well mastered and therefor extremely versatile.
That being said..
Looks can be deceptive at quick first glance, and this indeed might appear as being a very basic looking design. Even though this in fact is far from being just that other basic looking display sans, nor your next boring geometric grotesque!
From a FontStructor-perspective point-of-view I recommend to take a more ‘close-up’ view of the design's finer details. This creates a better understanding and greater appreciation for the extreme level of complexity that is present in both form and function.
Zooming-in on some of the letters would reveal the font's subtle, yet nuanced diversity of that 'previously' hidden underlying personal characteristics that usually remain invisible in text format at smaller point size. Now suddenly just its overall care for finer detail and overall quality within every bit of the design, the tons of custom shaping, stroke transitions and additional smoothing will gradually emerge as zoom levels get ever deeper. At its deepest level it will even shed some light on the surgical stuff that mostly works invisibly and without the awareness of its reader.
A display typeface at it's core, still it performs equally great in very small body-print text or web design application, as it does too in larger format for headings, ads or branding.
Thus providing, this very function efficient and reliable work-horse,
a truly genuine "one style fits all" typeface powerhouse.
And there its no question whether this could hand out "a 'one-punch' K.O." of a Headliner, thats obvious. But this unyielding bumpy behemoth just as well takes u for the long run, effortlessly telling you fascinating stories.
Especially well cared for optimized rendering on a computer display device, and deliver simple yet versatile seemless digital typeset material.
■ [ SPECIAL NOTE ]
A big thanks and 50% of the design credits for the lowercase 's' go out to elmoyenique
■ [ "Pro" VERSION EXTRA'S ]
The new "Pro" version update for GROOTESK utilizes several TrueType smart-font features and control characters to map two or more glyphs for combining glyph composition.
This is a great great work my friend, I think I told you before, but if I haven't, I do now very proud. Congratulations on this very well deserved Top Pick, Sed4tives! 100/10
@Rob: Thank you for the TP boss
@elmoyenique: Thanks too you as well for the ever kind words!
Once more the font runs into issues with the downloaded *.TTF-file that is generated.
The font is recognized by Windows and allows installation as well. But it no longer contains correct and complete kerning data. Significant chunks of stored kerning-pairs are missing.
Also upon further inspection it seems that it is no longer able to load in FontDrop!.
So there likely is something in the character-set or internal font data causing conflict.
Rob, could you please be so kind to take a look into this and perhaps fix it? And perhaps its also possible to restore a older version from today (02-20-2023), anything before 12:30.
It might be because the kern tables are too big for it to handle all at once…
I don't know, I have never heard of that problem to be honest, I dont think that is a very frequent problem in type design. And in terms of how FontStruct is handling the kerning tables upon a TTF-file generation I can't really tell, from my previous experience it seems pretty reliable in other cases.
BTW, within the FS-editor the issue is non-existent, and the FS-kerning tool handles all the data just fine, so the issue only becomes relevant once a *.TTF-file is generated.
@Rob: And my problem?
I’ll have a look.
BWM is basically right. There is too much kerning data. I can’t see a quick fix for this.
It might be possible to optimize the way that FontStruct saves kerning information in the font files. I’ll continue to look into this.
I think a good solution would be to seperate every like 600 pairs into seperate subtales under the kerning table…
@Rob: First of al thanks for taking a look into it. And what a bummer, I really didn't think this would pose a real problem to be honest. I really hope it wouldn't take too much of your time to come up with a solution for this.
This should be fixed now.
It’s incredible that there are so many kerning pairs in a FontStruction. It must have taken you ages! Because the FontStructor’s support for kerning is very basic, I wouldn’t generally recommend doing such detailed work in FontStruct as it is.
But at least now it is technically possible to go on an extreme kerning spree, and the font should still download. And the changes made to fix this case may well help others in the future!
@meek: Thanks a million, Boss!
@Rob: You gotta be kidding me Boss? For real?! Indeed thanks in a million!!
I didn't even expected it to ever be solved, let alone the Editor being upgraded for exstensive kerning sprees! But yeah, this font took me about 3 months from start till work had stopped after this ussue popped up. Far too long to still be enjoyable obviously (lol)
@Rob Meek: I can confirm that indeed it works like a charm!
Very complete and consistent with some beautiful details.
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