ELEVATED (REWORK) - A large 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 is the long overdue shadow style variant which was requested by Goatmeal and elmoyenique. It has the diagonal shading lines included (as was also presented in the original sketch by Jurriaan Schrofer)

Due to the inexperience that 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 had me unable to include the diagonal lines properly into that pre-existing font with them having equal seporation and white space througout the entire design.

So instead of making a clone of my previously published version "STF_ELEVATED" and include the shadow font variant into that family as a seporate FontStruction (like I did with most other style variations back then), I decided to rebuild the full font. Putting it all together into this single re-worked font version.

This re-work has some important differences compared to the previous version. The first one, another size to grid ratio which optimizes the size distribution for digital display as well as drastically reduces the overall glyph size (more accurate version forthcoming). Some extra characters were added to the set, making it a slightly more functional basic font.

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 bare outline style A-Z glyphs occupy the lowercase.

Enjoy!

STROOMLIJN is a tall streamline art deco style typeface design

Schlanke Schöne is a tall condensed geometric sans serif typeface.

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The idea behind this font was to experiment with making interresting letterforms, with fewest possible resources. In other words, fewest possible default core bricks, no filters and mostly without expert mode. The only expert mode funtion I did use was "stack" bricks to make a small number of resized compositions and composite sloped angles. The total amount of different bricks used in the font is 20.

The font design is a simple, fairly straight forward looking sans, but due to this the end result also is pretty legible and clean. I was able to get most of the features done within the design parameters, such include optical correction, diacritics, stylistic alternates and swash capitals.

Very simple, but playful fun...

The stylistic alternates and swash capitals have been stored in the "Halfwidth and Fullwifth Forms" unicode block.

Hope you like it,

cheers

A modern hairline sans style font.

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design grid: 3,5 × 4,5 units

brick size filter: 2 × 2

stroke weight: 1/8

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I tried to incorporate rounded letter parts and corners but this was very tricky to pull off with this thin stoke weight. The font works best at small size due to very small imperfctions.

I hope you like it nonetheless!

Work in progress

A cursive handwriting inspired style work.

Its a medium size faux-Bezier (fake curve) style approach with somewhat rough shaped outlines. I am having a serious hard time comming up with a uppercase set. Publishing it in this early stage I kind of hope to get some suggestions that might refreh my perspective on it.

Therefor I am curious about what you guys think so far...

Cheers

Experimental endeavor into avant-garde, reversed-contrast inspired letterforms.

I will explain the font in more detail bellow in the comment section.

Cheers

Modified clone that provides a style variation to the previously published Jurriaan Schrofer font revival I did, called "STF_SATER (Isometric)".

The earlier version I did was in fact amongst my very first font designs ever, and at this stage I still had about zero real typographic background knowledge.

Due to this I simply went out copying the exact lettering 1:1 as was seen in the source that I used. Not realizing that the angle of projection applied to the lettering in the original would render my font next to useless.
So I ended up with cool looking isometric letterforms that were heavily handicapped in a full font.

This time I overhauled the original and got rid of its isometric nature and simply just making it a regular, fully upright style.

Now with this addition it finally becomes a truly functional font at last.

I hope you like it !

Collection of linear-interpolated circle attempts, or simply faux-Bezier circles and other curvature related materials.

This toolset basically is collection of pre-made fake circles and curves in numerous different sizes to make ones workflow easier. It could also simply serve as a educative tool that demonstrates the basic FontStruct technique used for making fake curves and circles.

Initially I intended this to be much more complete, but it is simply too much work, and would take forever to get published at once.

Please don't expect this to be perfect, a lot gets fairly close to the "real-deal".

But keep in mind that they remain raw approximations of their true Bezier counterparts. I will try to improve whatever is needed as time progresses, as well as most likely add more stuff.

--- No filters were used ---

I hope you like it so far,

Feel free to copy, re-use, improve or even destroy!

enjoy!

My take on those classic serif style stencil designs.

Initially I started this design as a all caps display style, the desicion for a lowercase came once the uppercase already had been completed, and I truly had a hard time making a good looking lowercase for this one.

Also it felt like kerning this style was much harder to see and get right than most other fonts I made.

There still remains a number of things I had rather seen different, like those numerals, but this is the best I could do for now, I hope you like it!

Cheers

Here is a gift to the community.

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This is a collection with parts and bits for small grid designs, (5x5 max) Each related to the assembly of smooth and almost Bezier-curve like shape and round letterforms. 

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As some of you might very well know, one of FontStruct's holy grail is custom circular and curved forms. I'm talking about those not simply build with off-the-shelf bricks from the standard brick pallet FontStruct is providing.

Making these can be a very difficult process. Since the bricks in the default pallet are a far cry from what is truly possible with some clever use of FontStruct's editor features. Although obviously there remain serious limitations when it comes down to making different curves and round forms, there still is a lot room available to work in.
Most of the seasoned users know and utilize this very well, but, as with each of us, it took time and dedication in order to learn the tricks of the trade!

With a little knowledge, clever thinking and a healthy dose of outside the box thinking one can still get a lot out of FontStruct.

This font is meant to serve as a helping hand and inspirational / educative tool. Providing some insight into making numerous curving and rounded forms, various transitions, achieving different weight contrasts, and how all the various building blocks were aligned in order to make the various parts.

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Most important features used for this process are:
Brick Size filter: Must be changed to a 2x2 value in order to use the elements in this font.
All functions found in the "Modify" menu: Flip rotation and nudge are used to make alignments and to fill up the gaps.
Make composite: (also found in the Modify menu) This function will mainly be used to do two tasks, resize, modify/distort brick shape,
placement and orientation of bricks within the brick grid square for the required given composite.

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The font itself contains a collection of different premade elements divided into 3 main groups that I will list bellow. And can be found in the uppercase, lowercase and numerals sections.

[Uppercase]  Various pre-assembled variations of the letter O, to demonstrate different variations for a round letterform. These were sub-divided and grouped according to their relative height!
[Lowercase] "Copy & Paste"-ready isolated parts 'n bits (curve segments, terminals) aimed at re-constructing and use in your own projects
[Numerals] Various random examples of letters that have curved/round features implemented in some way.

A fonts height probably is the most dictating parameter in type design in terms of behavior and appearance. Therefor, with the collection of pre-build vatiations of the letter "O", I choose its relative height to further sub-divide them in, rather than weight, since these are already completed letterforms. This makes up for the easiest access to a "drag/drop" adaptation into one's own project and build a full font based upon it, mainly for those that come with only limited experience.

This tool is to make one's FontStuct experience a little easier or to save time. So feel free to clone it and use the content however you like.
Re-use any of the provided elements, copy/paste the letter examples into your own fonts, deconstruct and re-use the various parts. Or simply just take a peek under the hood to see how they were build, This can be done via the "Menu>View>'Outline' " function.

There are no restrictions to how the content is used.

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More additional curve variations and different related other elements will be added soon. I have to select them from my various random works and this takes some time. Please stick with me on this one.

The intent is to try keeping this a ongoing project, so hopefully many more updates will follow and eventually turn this into a "all-in-one" tool for small grid designs. So far I also have plans for including a collection with different serif style, but this is something for a future update as well!

For now, curvatures it is!

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Note that, all content and forms in this font were created by myself and were gather from the various projects I have made, most came from published works, but some were taken from private material as well. We all here work with the same tool + limited brick set, so I am pretty sure certain elements in here were done exactly the same way by other users. Please don't accuse me of using others or your material without approval, this is just a case of unfortunate coincidence.

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[Usage]

The elements are best used by way of copying them from this into your personal projects, and work with it from there! This because the "My Bricks" pallet in this font is messy, probably very uncomfortable to work with as is. Copy & pasting them into your own font re-arranges the selected brick set for that segment into your own font's "My Bricks" pallet, making it much easier to get sense of its individual bricks.

Another very important thing is, I strongly advice not to nudge any of these what so ever, unless investigated its composition first. And I cannot rephrase this enough, seriously, never, or brace yourself for absolute dire results!
This due to the numerous counter-rotated or different directions of nudged 'into place' elements that make up a complete segment.

There are some elements included that at first seems to be looking like doubles, with onother one looking exactly the same. This is right, but these are constructed using different configurations of bricks. The reason for this is to provide alternative configurations for them. Some scenario's can make one approach to be working just fine, and the other simple not. This all hangs in strong correlation with the current nearby configuration of bricks, and simply depends on the whatever spot still remains unused in the surrounding grid. Since available grid locations to start working from are usually very limited. Its like this, Taller and/or wider letterforms meaning more available space to work from and place your bricks, but the smaller you go, the more scarce space becomes, simple as that.

So best is to use and work with this tool on a copy of your current glyph to verify no bricks will be raplaced and ruin the current glyps, and only to replace the original glyph once you're absolutely sure everything worked out well together.

If something else isn't clear or if you have any questions in regard to this tool, feel free to ask those in the comment section bellow.

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One final thing, beware that some of this elements can possibly influence the font vertical metrics (font size and leading/vertical spacing) and create addition extra line spacing. As well as the letter width. So be sure to allways double check those two when u use any of this.

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PS: My apologies for the "too much" of a explanation above, lol.

Happy structing,

cheers

 Ahh sadly due to repeatedly running into a corrupted font when I save newly made changes to it, it eventually catched up with me and tested the limit of my patience.

I have had to painstakingly restore the font 5 times already since I started it.

So I stopped including new characters as well as making new changes to its existing character set. (At least for now)

Too bad because I wouldve loved to see this truly getting finalized.

So at this stage there are still a number of characters that remain in rough condition, and had yet to be further optimized.

The main A-Z alphabet luckily already was close to how I invisioned it, but especially the numerals, symbols and accents still have some rough edges.

Now, forgetting all that, I still think it is not a bad font at all. Everything is there for most common Western-European languages, somewhat still making this a usable font that I shouldn't be keeping in private!

I hope that despite my bad luck this time, y'all still like it.

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About this Font:

The idea was to make a classic Didone style display serif that is meant for making clean headline text similar to those often seen in older magazines or newspapers. I set out trying to design a semi-bold & slight expanded looking letterform with thin hairline serifs and strokes. I choose a large grid scale for the extra freedom in custom shaping this provides.

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Technique I used in this design:

This font in particular I have experimented with working within a "(asymmetrical-) Grid Scale ratio" ( 1,5:1 ), so, changing only the value for the Horizontal grid scale. (This distorts the grid aspect ratio, and is a great way to discover and experiment with getting new forms and shapes).

The 1,5 : 1 ratio was specifically choosen to keep maths simple, in order to rebuild certain required bricks that build specific slope angles , such as a 45° (which is no longer possible to make from the FS default brick set when using asymmetric scale ratios, unless making composites).

But what this also does is opening up a totally new approach to making shapes, and..becoming quite a surprisingly easy shortcut to get unusual shapes or make variations on these, even with as little as just the rotation of the bricks/selection. (thanks to the distorted aspect ratio)  :-).

This is a must try for those who are into large grid designs, fake curves or interrested in experimenting around a little.

Enjoy!

Dotted sewing pattern style font, its pretty simple but I pulled some oddball kerning tricks and such to make it connect at certain letter combinations.

I will show a little of this in a sample image bellow.

Enjoy

It is finally done! It took me around 3 full days of design work and polishing.

The major character design part is about done, and I probably will only add some additional extra ligatures and special characters.

The design approach is a large grid Faux Bezier style to get the most out of custom shaping Top/bottom grid scale is a total of 71 bricks with ascenders and descenders included.

I have done a whole lot of finalizing background work already, and many pairs have been kerned already, but not everything was done yet, this is going to be completed within the next few days.

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- Littera Textualis Emergo -

A formal Gothic minuscule that was inspired by Latin bookhand script, better known as 'Textualis'. This script was popular between the 12th & 16th century. Basically Those that would have been used for the main text of Latin books.

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A more detailed description is has been written down in a sample image posted in the comment section bellow.

I hope y'all like it as much as I do.

Cheers

====[ EDUCATIVE INTRO ]====

At a time when making books was a very time-consuming and labor-intensive process, an increasingly literate 12th-century Europe required more and more books. To keep up with the increasing demand for the spread of literature was a ongoing struggle. Writing materials such as inks, dyes and parchment were very expensive. And it wasn't until the 15th century, when parchment was largely replaced by paper, along with the arrival of the printing press, for it to gradually became cheaper, faster and less labor-intensive.

So it made perfect sense to find other ways to help with this process.
Simplifying a script and cutting back on the decorative calligraphy was the most effective way of doing this.

This led to the development of simplified variations to pre-existing bookhand scripts. One of such forms is littera textualis, categorizing within the Textualis/Textura or simply Gothic bookhand scripts group.

Littera textualis is the simplest and least calligraphic form of textualis. It was developed with just two main goals in mind, to save time and costs. The simplified letterforms could be written much quicker than the more calligraphic and luxurious variations. It offered a more cost effective and faster version to the script. It was often used for less important literary works and academic papers.

It functioned as the standard bookhand script in the Netherlands during the 14th & 15th centuries.

====[ ABOUT THIS FONT ]====

TEXTUALIS BATAVICUM - A calligraphic inspired Blackletter/Gothic bookhand script. Essentially a Textualis/Textura inspired work.
The design mainly follows the concept for a traditional form of littera textualis bookhand script as was described in the intro written above.

It remains a work in progress and I will add update info for this font in the comment section bellow.

Some character still need slight adjustments, but so far I am very pleased with the result. As you can probably notice, the uppercase characters have slight more weight than the lowercase has.

More characters follow soon.

I hope y'all like it

A modernized geometric monoline gothic script design in progress.

Its a all caps design but with a double sized uppercase.

The style of design metrics made it tough to allign the punctuations so that they all fit both upper & lowercase strings, but I did it the best I could.

No numerals done yet, I might do them soon.

I hope you like it so far

GOSPEL ANGLOS

A insular half-uncial or insular majuscule script style typeface project that is inspired by ancient celtic bookhand & manuscripts.

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The project is aiming at solidifying a number of different insular script styles. The main goal is to create a single typeface that includes about everything required to replicate the decorative writing style seen in ancient celtic manuscripts.(except for the ornamental decoratives)

The font, though essentially a bi-linear or majuscule insular half-incial script, in reality is a combination of different styles and complementary lettersets. Each carefully designed for specific purpose.

For example, it includes a more decorative Anglo-Saxon-script capital letter, perfect for headline text or book bindings. These actually include a small number of short ascendin / descending letters, but it remains mainly a majuscule. Then there is a complete insular style lowercase set, but which resembles a more traditional style lowercase letterform. And instead of being proportional sized, these reflect the cap-height, remaining faithful to the bi-linear nature of the script.

Besides all that, there is a set of glyph-alternates for most of the Anglo-Saxon capitals, as well as numerous random stylistic glyph alternates scattered througout some other various unicode blocks.  Providing more than enough options to make variations.

To top it all off, I started making a set of more decorative lombardic initial letters, perfect for decorating paragraphs.

(This remains a WIP for now, as I am still experimenting aound with different styles and bits to narrow down the right one that suits this total package)

I like how some of these characters turned out, but many are jiust ideas and not yet reached their definitive forms. But this set proved a lot more difficult than I had anticipated. So,

Any suggestions helping me to complete the full set are very much welcome..

The major recources and guidelines for the creation of this project mainly evolved around the two medieval celtic manuscripts: 

"Book of kells" and "Liɴdisfarne Gospels"

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It has grown quite a bit already so far, but remains a WIP.

So beware of very little overall polishing or kerning.

The overall design has quite some rough character, even more so with the insular lowercase set, that obviously was not aimed at smooth edges. Actually the oposite, sort of trying to replicate that rough look seen with many scribes from that era.

But I would love to hear your opinions (or suggestions for that matter) on the work so far. I can really use a little refreshing vibes for this at this point.

;)

Cheers.

Another textualis style calligraphic blackletter / gothic script typeface.

Besides the Basic Latin character set this has a lot of special use characters and alternatives too, such as:

Ligatures, Superscript, lining (default) & oldstyled numeral forms (located in halfwidth), traditional medieval punctuation marks (located in private use). And there is even a complete, but slightly modified & smaller version of the alphabet located in the Halfwidth unicode block as well.

I hope you like it! :)

LOMBARDISM - A contemporary slighty simplified insular half uncial script style solely based on medieval Gaelic/Irish insular scripts.

A condensed neoclassical "Didone" serif typeface.

A contemporary geometric grotesque with some advanced typographic features included.

Its packing not one, but three different styles into a single typeface. These are divided over the basic upper-/ lowercase  and "Halfwidth and Fullwidth Forms" Unicode block.

It is a bold weight typeface that suits best for headlines, posters and display purpose.

See the provided sample image bellow for more detailed info on its various features.

I hope you like it!

Robust and simple tech style stencil font

Humanist Gothic style Grotesque.

This was so much friggin work, and still I have only the basics of Larin characters. The amount of work I put into getting the stoke modulations and smooth edges right was unreal. I couldn't be more happy with it so far. I will add more characters to it soon.

What do you guys think so far? Suggestions or tips are more than appreciated.

Enjoy!

Contemporary geometric gothic typeface.

The idea was to make a typeface design that would suit small point size body style typography.

The fontstruction is a faux Bezier style approach, this allowed me the most freedom in shaping the different letterforms and curves. Capital height is 36 bricks height.

Font sample is best viewed at 2x pixel size or above for a sharp result.

I hope you like it!

Condensed geometric sans-serif typeface inspired by the lettering seen on a variety of different Dutch and German street signs.

The simple and clean geometric letterforms provide this typeface with a strong legibility in both display & body style text.

(grid size 3,5 × 7 at 2x2 brick size filter)

Enjoy

Support for 34 languages:
Afrikaans, Albanian, Belarusian, Bosnian, Bulgarian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Greek, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Macedonian, Maltese, Norwegian, Polish, Portugese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Turkish, Zulu.

A semi connected script style font design. It is losely based in the lettering seen on a poster design by German designer/painter Ottomar Carl Joseph Anton. (image shown in comments)

I completed the full alphabet, I tried to incorporate the features from the provided letters the best I could while creating the remaining missing characters.

It is a semi connected script style lettering, so certain characters are deliboratly disconnect and some aren't. For example the Uppercase string is almost completelty disconnected, whereas most of the lowercase characters connect. This can also be seen in the original Ottomar poster.

For the lowercase characters that connect there has been made a alternative glyph that is disconnected and adjusted to make a more pleasing flow and better looking breaks. These are located in the Unicode Block “Halfwidth and Fullwidth Forms”.

It contains both proportional oldstyle (default) & lining numerals, which are located in the Unicode Block “Halfwidth and Fullwidth Forms” as well.

I hope you like it!

cheers

Somewhat of a accidental goofy future retro style font.

This initially started as a experiment into discovering new ways within small grid designs to gradually increase the radius of a small curve and find new transitions in their shape for making asymmetrical curvatures, all without compromising the smooth edges (2x2 for this one, with hairline stroke weight of 1/8th of a square grid unit). But, it quickly became a real font.

I have kept the variations for a number of eliptical shapes and curves I made so far in order to demonstrate what the goal for this was.

I hope you like it.

WIP

All caps geometric gothic sans-serif project. Its a semi bold display design that looks a little like those early grotesque types.

The uppercase O has a distinctive circular shape and has a unusual 3x3 grid square dimension. A number of glyphs still need modifications to achieve better solutions. Also is the character set far from complete yet.

I hope you like it so far