WOLKENKRABBERS — Condensed streamline Art-Deco style lettering
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Enjoy!

STF_DECOBAU — Bauhaus got Art-Decoized
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This is probably what would've been if one was to ask Herbert Bayer to design an Art-Deco style typeface.

Who doesn't like to kick-off the start of this New Year with a freshly lettered breakfast, and celebrate the arrival of 2025 extra stylish…
—Lets say in a Retro fashion!?!

Here is yet another of my blind leaps in-at-deep-end in the Bauhaus—pool. For this one in particular I have Art-Decoed  the living sh*t outta Bayer's defenceless innocent little baby child Universal—"Boii was I lucky that the world was too damn p4rty-h4rdy last night, bussy celebrating New Years eve. Cuz I gotta tell u this folks, she was screaming at the top of her lungs"  #nobodycame2rescue

The font is obviously not your best pick for a large chunk of Body-copy text, and is best used solely for Display application purpose.

There is only a limited character set present, but thats alright, since the font has more of a "decorative" value anyway.
Due to the complex nature in these small grid glyphs the characters lack nearly all optical compensations typically seen. —So yeah, this time y'all have to settle with missing overshoots and such.

Kerning is a WIP,
So keep in mind that at this stage this remains very incomplete!

I hope y'all still like it,

Cheers

STF_WALDBAUER — Condensed modernist Bauhaus sans
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This is rather a heavily condensed sans that sits halfway between a Bauhaus and Art-Deco style lettering.

The low waist, tall x-height, long ascenders and deep descenders give this font a somewhat elegant appeal. The uppercase set is clearly Art-Deco inspired, whereas the lowercase set leans more towards a playful Bauhaus mondernist style. Several characters have filled enclosed parts or other exaggerated features as well as non-filled alternate forms.

The idea for this font was inspired and extracted from a 1930s poster ad by Pál Vince for luxury luggage company Waldbauer.

The FontStruction's x-height is 3,5×1 grid units, so its tiny!

I hope you like it,

Cheers

JS-SANS BEVEL (OUTLINE) — Geometric Sans-Serif
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Another font addition to the ever evolving and growing collection of revivals and inspired works called LETTERS OP MAAT, a project celebrating and trying to recreate the typographic contributions originally designed by Dutch graphic designer Jurriaan Schrofer.

This time I did a revival based on a sans-serif lettering concept Schrofer did in the late 1960s during his time with Mouton & Co..

The alphabet system was later featured on several book cover prints such as: "Marx and contemporary scientific thought"  from 1970, "Images of the world in the year 2001" from 1976, "Repro en Druk"(Weekblad van het Koninklijk Verbond van Grafische Ondernemingen) from 1981, and several more.

I decided to create a typeface family with two styles, SOLID & OUTLINE.

In addition to that I included an uppercase letterset, symbols and punctuation marks as well..

I hope you like it,

Interrested in more of my Jurriaan Schrofer recaps? Please take a look a my complete collection of Fontstructions tagged with STF-LETTERS OP MAAT for the full catalog of fonts I contributed to this project so far.

Cheers

JS-SANS BEVEL (SOLID) — Geometric Sans-Serif
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Another font addition to the ever evolving and growing collection of revivals and inspired works called LETTERS OP MAAT, a project celebrating and trying to recreate the typographic contributions originally designed by Dutch graphic designer Jurriaan Schrofer.

This time I did a revival based on a sans-serif lettering concept Schrofer did in the late 1960s during his time with Mouton & Co..

The alphabet system was later featured on several book cover prints such as: "Marx and contemporary scientific thought"  from 1970, "Images of the world in the year 2001" from 1976, "Repro en Druk"(Weekblad van het Koninklijk Verbond van Grafische Ondernemingen) from 1981, and several more.

I decided to create a typeface family with two styles, SOLID & OUTLINE.

In addition to that I included an uppercase letterset, symbols and punctuation marks as well..

I hope you like it,

Interrested in more of my Jurriaan Schrofer inspired? Please take a look a my complete collection of Fontstructions tagged with STF-LETTERS OP MAAT for the full catalog of fonts I contributed to this project so far.

Cheers

JS-SAVOIR GEOGRAPHIQUE ROUNDED (BOLD)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co., which was based in The Hague.

This is a bold weight rounded variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

JS-SAVOIR GEOGRAPHIQUE ROUNDED (MEDIUM)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co. which was based in The Hague.

This is a medium weight rounded variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

JS-SAVOIR GEOGRAPHIQUE ROUNDED (LIGHT)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofers for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co. which was based in The Hague.

This is a light weight rounded variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

JS-SAVOIR GEOGRAPHIQUE (MEDIUM)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co. which was based in The Hague.

This is a medium weight variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

JS-SAVOIR GEOGRAPHIQUE (LIGHT)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co. which was based in The Hague.

This is a light weight variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

STF_OSC-WAVE CYCLES — Pixelated dingbat pictographs
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¶  Over the last two-and-a-half years or so I've excesively been working on this large DIY undertaking, and has been quietly in the making since. This is the development of a custom‒built 17-part hybrid analog/digital multi-synthesis engine and hardware controller.

¶  The main operating system (OS) architecture is assembled for Teensy 4.1 32-bit ARM‒based Cortex M7 (MCU — microcontroller unit). GUI interface is running a Library to control basic graphical functions for 128×64 multi-color LED‒backlit DOT matrix LCD display module. This specifically sets interface pixel grid to 128×64‒sized ratio. Important in understanding the area in which creative decisions are made — required for coding and performed size-check of elements of all screen elements, since pixel‒perfect, in this case is the norm.

¶  This is a set of pixelated dingbat pictographs, consisting of various waveform representations that illustrate periodic function cycles in signal processing, more specifically, sound-synthesis. Intended to supplement a collection of bitmap fonts that eventually will be designed.

¶  Adding multiple tailor-made bitmap fonts — specifically the number of size-interpolation steps for font‒scalability, the different style fonts and additional dingbat sets to further establish various identities of the different GUI-components for now, is one still in ongoing trial-and-error testing.

Cheers

LINEDANCE - Poorly segmented sans experimentation
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Not an LCD, segmented nonetheless.

I named it "Linedance" because the uppercase and lowercase letter incisions don't align. Hence the dumb reference to "dance", and as for "line", it refers to, well, y'all ain't THAT dumb, unlike that name I gave this.
So u probably get my point !  ..Or should I say "my line!" ? 

Anyway, I need some sleep soon, or I'll risk getting dumbed dat fap-up sum more...
#notanididiotalot

Cheers

ORIENTFAHRTEN (Pro) — Semi-connected script-style font design
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Losely based on the lettering that was seen on a 1929 poster design by German painter Ottomar Carl Joseph Anton (1895-1976) for the “Hamburg-Amerika Line”  * (click for image of the original poster)

Whereas the original (non-Pro)-version aimed at extracting that “stylistic essence” of the lettering, and made an attempt at extrapolating and restoring a full alphabet from the letters provided by the original poster.. And so, that basically became sort-of a font revival with a little extra's.

ORIENTFAHRTEN (Pro) than took this to a whole other level, This refor-mation wasn't guided by Ottomar's original poster-lettering, but rather a remodeling and amelioration of my initial work.
Many glyphs were fully re-invented, others only just partially improved.

In addition to this, many new things were introduced as well. For example, the font was further ornated with various typographic elements and bits, reminiscent of calligraphic hand lettering. Turning this into a much more attractive looking little novelty.

Also some “technical” restructuring of the Unicode character mapping, to creating more user-friendly text formatting properties.

Since it is a semi-connected script, certain characters were deliboratly disconnect and some weren't. For example, the uppercase letters almost all disconnect, whereas the majority of lowercase letters will connect by default. A set of glyphs alternate forms was included that allow to break the 'connected' flow of a text.

These also function sort-of as “Contextual Substitutions”,  but without OpenType's automated glyph-stream lookup classes. Yet these do allow the manual control over word-endings and word-space situations. So when a default-glyph is followed by a white-space, a glyph-alternate form could than be selected to replace the default-character encoding and improve overall aesthetics and natural flow of text. These substitutions are located in the “Halfwidth and Fullwidth Forms” and “Private Use Area's” Unicode blocks. In addition to the default alphabet letters the font also includes numerous symbols and punctuation marks, as well as ligatures.

As for the “numberscomp” that is currently in progress:

This font was specially fitted with 5different schemes for text figure arrangement.
 • Didot-(old style) non-lining (font default)
 • Traditional-(old style) non-lining
 • Clean-(modern) lining
 • Tradidotional-(old style) non-lining
 • Ornate-(modern) lining

— This does temporarily create a new problem for me though... As this would be my fourth submission to the competition, where a maximum of only three font submissions is allowed. Now, which of these previous entries am I going to eliminate?!

I hope you like it,

Cheers

My FontStruct 15th anniversary celebration mini font. (Previously unreleased).

MARTIAN AMBASSADOR — Future retro / Sci-Fi style
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A future retrostyle that reflects the social construct at the dawn of the Computer Age through the zeitgeist of that 70s and 80s aesthetic fashion, which was strongly influenced by things such as: space, computers, sci-fi and cyberpunk.

ANTI-QUE — Asian calligraphy inspired
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Anti-que features a romanized lettering concept that was designed to mimic the stylistic properties of Asian calligraphic characteristics.

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

BODINI BALWAUM (Regular) — Didone-style 18th century modern serif
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Dobini Balwaum (Regular) is a Didone, or modern, serif typefaces, inspired by the works of Bodoni, Didot and Walbaum.

This is the solid (or regular) style for the Dobini Balwaum typeface.
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In an attempt at getting that typical sophisticated look, the letters have been provided with a stylish mixture of various different designed Serif attributes. 

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═════] Type elements ]
Serifs
 • Foot—abrupt (unbracketed)  bilateral hairline
 • Spur—adnate (wedged)  unilateral reflexive
Terminals
 • ball/beak/barb/flag/ear/finial/tail  terminals & spurs
Apex
 • pointed cup

═════] Glyph alternate forms ]
Letters:
 • a & g—double- & single-storey"a" and loop-tail & fish-hook"g" sets
 • K k & R—curved & straight legged letter alternate sets
 • u & w—unilateral reflexive & bilateral hairline alternate spur sets
 • x—alternate asymmetrical lowercase letter
 • J & j—narrower glyphs alternates
 • t (2x)—stylistic alternates
 • s—alternate form with slight wider top section

═════] Text figures ]
 • (default)Old Style—(non-lining)
 • (alt 1) Modern—(lining)
 • (alt 2) "Didot" Old Style—(non-lining)

═════] Optical corrections ]
 • top/bottom curve overshoot
 • tapered transitions for shoulders & arc of stems
 • stroke-weight compensation for horizontals

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I hope you like it so far,

Cheers

DALLIANCE GROTESK — Geometric gothic grotesque

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Dalliance Grotesk is a solid sans-serif lettering concept that builds on the ‘core’-lettering concept of frongile's amazing work called Liaison Grotesk

Liaison is a renegade take on the gothic grotesque sans-serif style. A wonderful mix of early egyptian styles that get blended with subtle neo-grotesque hints, held firmly together by a rigid condensed geometric letter-backbone. The crude design of Liaison provides a very distinctive and unpolished appearance, that breaths a lot of visual character.
Its geometric quirkiness and rather irregular letter widths, just the slight imperfect overall lettering simply came together perfectly in frongile's original design. Making this a text-book example as for whyback in the day this style became known as ‘Grotesque’.

Yes, Ugly.. Obnoxious.. and... ‘Always in your face’
— Exactly how we like them best...

Dalliance Grotesk is the result of harvesting some of that original soul personality as was seen in Liaison and borrows it for extrapolation into a different font.

While Dalliance tried to preserve much of the overall letter-backbone structures from the original source, its primary aim was, to push towards a more polished finishing touch.

Simplified letters that were stripped of most quirks and bits, keeping only their rough shape intact.
In addition, all curved letter-parts were fully re-build with smoother contours and more natural flowing curve transitions. The spurred top and bottom stroke-stops for the lower-case letters had been changed so that the top now slightly differ from the bottom spurs (different tapered angle). Also the top spurs all have been slightly lowered to make them sit a tad bit bellow the x-height of the font.  

Main modification revolved more or less around achieving cleaner overall text rendering and better optimization for body copy in small point sizes. In the process of getting there, I carefully adapted each glyph equipped fit, to appropriately accommodate all the ty(pro)graphic goodness one can possibly hope to pull out of a Fontstruct.

Smooth (near)-Bézier contour quality, optical compensating correction adjustments, such as overshoots, small vertical stressed contrast and improved stroke joints. Also the font's proportions for height to weight ratio has drastically changed.

— Utilizing sort-of an attenuate 'knockoff' to frongile's original concept for his Liaison Grotesk.

I would like to thank him for allowing me to harvest the basis of his lettering-concept and letting me re-use that as the stylistic back-bone in the creation of my own font.

FRUNTSTOCT UPPER — FontStruct logotype uppercase reinvention
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This second font is the next evolution in my take on the Fontstruct logo type.

Its an experimental approach towards the reinvention of its uppercase letters. The first one was a unicase minuscule that was aimed at creating an improved version of the original logo lettering concept. FRUNTSTOCT LOWERremained faithful to the original letters, whereas FRUNTSTOCT UPPER is a complete reimagining.

Motivation behind the complete overhaul came after checking out existing Structurosa entries by other Fontstruct members.

It became evident that only one or two members truly were able to build upon its original concept and could come up with a 'unique' and decent majuscule.

AT Archistruct Outline by Kassymkulov (aka Architaraz) being the clear winner in my opinion. — Which is a true masterpiece !!
Some others 'tried' to be original, and made an attempt at a personalized lettering, but couldn't solidify ideas into a consistent whole. But the majority simply copied rob's original design.

— For that reason I choose to take the alternative road and tried to come up with something new.

I hope you like it..

Cheers

DOBINI BALWAUM (Inline) — Didone-style 18th century modern serif
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Dobini Balwaum is a Didone, or modern, serif typefaces inspired by the works of Bodoni, Didot and Walbaum.

This font had been in the making for quite a long time as I ren into several design difficulties along the way. Most challenging parameter was the inline width. By default the width for the inline was set at 0.125 (or 1/8th) grid units.

Maintaining a constant width for the inline proved to be next to impossible. Therefor it evolves around a 'close' approximation of 0.125 units instead. Stroke weight for the letterform contours also proved to be somewhat of a constraining factor for the overall design concept. As it limits the ability to build complex geometry.

Due to the complexity in brick arrangements the font remains having some minor imperfections that I wasn't able to polish out so far yet, and some may never will..

For now only Basic Latin letters, it remains a WIP

I hope you like it so far,

Cheers

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

BOOTSHAUS — Geometric "Bauhaus"-inspired modernist sans
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Bootshaus is another endeavour into the Bauhaus realm of typography.  

Focus for this font lies mainly within it's broad choice of glyph alternate forms to select from for stylish texts or logos.

Much of the extra glyph alternative forms are loosely based on the lettering by Sascha Lobe for the Bauhaus-Archiv

Many more glyph alternative forms are planned to be included, stay tuned..

— WIP

Cheers!

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 grif 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

TYPOGRAAF — Geometric modernist display typeface

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Typograaf is simple looking modernist style aimed for display use. It doesn't work well in a long line if text nor at smaller sizes. But perfect for large display work, logo's and such. The letterforms have several little nuances and multiple custom crafted curved parts with smooth (near) real Bézier contour quality.

So far only general concept plus some extra's was created, no multilingual suport for now.

Let me know what you think

Cheers

GROOVERIDER — 70's future retro display sans
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Grooverider is another groovy looking display style with that distinctive 70's retro aesthetics.

The concept for the lettering is that of a solid future retro / space-age style with inversed-stress.  It's reversed weight contrast adds some additional groovin' funkyness and good old boogie wonder flavour to the font's overall characteristics. Making it somewhat of a hybrid mixture between two distinct 70's and 80's retro styles.

Simple at the surface, but rather complex down at the Editor level, since the letterforms have several tailor-made geometry and curve shapes. Pulling off some glyphs without disrupting the (near) real Bézier curve geometry was tricky I must say. Like for example the joined letters such as lowercase Æ/Œ, question mark, @ sign, number 2 digit, percent sign and lowecase letter S all proved difficult. But also some unlikely ones that are typically pretty straight forward now were trickier within the font's parameters. But I'm pretty satisfied with the end result so far. Little to no compromising imperfections slipped into the design,  one or two real minor ones are present, but only truly become noticeable once the size is fully blown up.

It was very fun to make though, I hope y'all like it...

Cheers

MOVIEMAX  — Groovy bold & roundish 70s display sans
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Moviemax is a bold display sans-serif that has a groovy 70s offbeat look. Essentially an all-caps lettering concept with simple looking letters. The basic geometry and inversed contrast with its soft rounded finish create an immediate endearing effect.
The default characterset comes as all-caps (unicase) only, with no glyph alternative forms. It has been completed with additional symbols and punctuation marks.

To make thing a little more interresting I have also included a full (A-Z) alphabet set of small-caps letter modifications with drastically altered proportions. Complete removal of the inversed stressed contrast to make a more simplified and cleaner looking minimalist letter style. Their size was also reduced to 50% of the cap-height (scale ratio ≈ 1:2), providing an optional alternative for the missing lowercase forms in the font.

To finished off this extra set of small capital letters, another additional full (A-Z) alphabet set of large capital letters was included. These letters have also been scaled down a bit to better fit with the small capital letter set (scale ratio ≈ 6:8 or 75% of cap-height).
The 2 sets include a slight more unique and stylized level of sophisticated characteristics to the font, and when used combined together in a mixed-case text format creates nice text capitalization.

These alternative forms are located in the Halfwidth and Fullwidth Forms unicode block.

A set of basic punctuation marks that align with the small capital letters had also been included and could be found in the Halfwidth and Fullwidth Forms & Private Use Area 2 unicode blocks.

I hope y'all 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

SPOKOYNOY NOCHI — Revival of famous 1920's Art-Deco lettering
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☛ THE FONTSTRUCTION
Its sort of a reimaginative digitized revival of the famous lettering by Anton Kurvers, designed in 1927 for the Flemish folk theatre in dedication of Joh. de Meester jr. commissioned by Wendingen for the 3rd issue in the 8th series of this famous magazine. It is one of the many graphic designs by his hand. —Its a simple monolinear Art-Deco style unicase lettering with additional full size alphabet set of uppercase glyph alternate forms that is located in the Half Width And Full Width Forms Unicode block. Some global kerning was done, but extra pairs are still required…

☛ EXTRA NOTES ON THE ORIGINAL CREATOR
Antonius (Anton) Kurvers(The Hague, 23 July 1889 - Amsterdam, 29 January 1940) was a Dutch artist. He was a draftsman, lithographer, furniture designer, textile artist, decorative painter, industrial designer, graphic designer and book cover designer that became a prolific letterer in the public sector. Many of his lettering as well as other works can still be seen in public and on buildings throughout the city of Amsterdam. Kurvers was the student of famous Dutch architect Hendrik Wijdeveld(1885-1987) and started during 1911-1914 as a painter of theatre sets in Paris. This was followed by years of stained glass design. After this period he discovered graphic design. In 1919 the Public Works Department of Amsterdam hired Kurvers, and this position Kurvers made an important mark on the design of municipal institutions. He designed various public objects such as the blue Municipal Giro-box in 1926 for Public Works in Amsterdam. He also designed a red Holland mailbox for the Dutch PTT in 1929, as well as a blue postal stamp machine in 1936.

☛ THE FAMOUS MAGAZINE
Wendingen(Dutch: Inversion or Upheaval, literally turns) "monthly magazine for building and decorating" was an architecture and art magazine that appeared from 1918 to 1932. It was a monthly publication aimed at architects and interior designers. A total of 116 issues were published and it served as a mouthpiece for the architect association Architectura et Amicitia(Architecture and Friendship). Its association with Architectura et Amicitia didn't meant the content would at all be limited to just architecture, and specific special attention was paid to both visual and applied arts.

☛ In Modern architecture of the 1920s were three notable movements.
Cubist, Expressionist, Functionalism and Constructivist architecture. All three respectively had their dedicated artistic movements, and typograpy or lettering was no stranger within these movements. Wendingen earned recognition not only through its content, but also by its remarkable square format, but probably most nowadays in modern times for the striking typographic content by artists such as: H. Wijdeveld, A. Kurvers, E. Lissitzky, V. Huszar and many more. Editor-in-chief was Hendricus Theodorus Wijdeveld, another famous Dutch architect and graphic designer. Initially the magazine was an important platform for the Dutch expressionism movement, also known as the Amsterdam School, but later endorsed a post-expressionist spirit, also known as the New Objectivity and was a reaction against expressionism. The primary aim of Wendingen was to enhance the aesthetic quality of architecture and to serve as a source of inspiration for its members.

Wendingen was influential on Expressionist architecture, especially in The Netherlands.
—Another similar Dutch magazine from that era was called De Stijl, but it was more influential on Swiss Style and International Typographic Style.

I hope you like it,

Cheers

FABRIKATA —1920s Art-Deco & Dada Constructivism inspired style

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This is latest in experiments into constructing high quality customized curved shapes in small grid fonts.

For FABRIKATA I intended to break away from the grid completely, and create complex geometric letterforms with ultra smooth custom curvatures (near real Bézier).

This is what became the end result of that endeavour.

FABRIKATA sits somewhere between Alphabet Soup's Grafika typeface, countless of old Dada Constructivism print material and the brand logo lettering for Plantur 39.

NICE LEGS

This is a monolinear hairlined sans-serif typeface inspired by Art-Deco-ish classic modern and old ultra narrow typeface designs that evoked a feeling of sophistication and luxury..
This is a monolinear hairlined sans-serif typeface inspired by Art-Deco-ish classic modern and old ultra narrow typeface designs that evoked a feeling of sophistication and luxury..
A condensed slim & elegant style that has this classy look. The tall upper-case evokes elegance and it's asymmertical high- / low- waist distribution.

NICE LEGS was built using simple geometric shapes to make clean and legible letterforms. The super tall uppercase letters and the low x-height,
making this an eccentric, yet elegant san-serif type

— “Condensed, slim & stylish tall glyphs with that classy look that evoke elegance”.

It's asymmetric high- / low- waist positioning gives the lettering a distinct retro look & bohemian feeling that is great for logos & branding, packaging, titles, magazines, posters, signs, and scrapbooking.

As far as it is a clean looking font, it is not designed for large amounts of Body Copy text. It does work at small size, but it is perfect for branding , logos, and posters.

This font comes in both Capital & Lower letter cases. It's also equipped with many other charaters, such as; Ligatures, Numbers, Punctuation Marks, Accented Latin and a supply of special characters

It’s a minimalist sans-serif, delicate and romantic! The smooth and light execution of it’s clean and sharp lines making this font look sleek and elegant, feminine which is perfect for modern fashionable branding designs.

A condensed font with visual elegance, and smooth curves that make your work look true and attractive. Making this a perfect sans suitable to a wide variety of designs due to its neat and simple style.

More details soon

PS: I'm still working on kerning the font...

Cheers

Art-Day-Co. — Decorative geometric futurist sans
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A more experimental and fururistic take on a standard geometric grotesque that started out as "All-Caps" lettering concept. The innitial first idea was to create capital letters only and to provide these with additional capital letter alternate forms, Now, things not always go as they were invisioned, as was the case during this project..

After creating a couple of capital letters, and just when I was thinking I had this new brainchild for a cool looking font, I ren out of ideas for more experimental letter solutions; — Inspiration dried up quicker than water droplets evaporate on the surface of the sun!

But honestly imo things especially got interresting when I unintentionally started doodling lowercase letters for this font. And I don't know what happeded here, but it somehow completely changed the mood of this font (To understand what I mean just cross-compare 2 lines of text, one with all lowercase text and the other all caps text).

Both somewhat very different, but mixing effortlessly to create a very distinct and unique looking font. I can't put my finger to it as to what style it is.

Cheers