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

LOVER CRUSH - Simple decorative font

For all of you who like to share some love !!

Perfect for daubing a public restroom or simply to write your sweetheart.

It's cloneable.. ;-)

Cheers

XATURATE 2.0 - Heavy weight Egyptian slab
══════════════════════════════════════
Here is another throwback of my original older works, now refurbished and expanded into a complete font that includes multilingual support.

As part of the recent endeavours into my older FontStruct works, digging for the forgotten and lost potential gems, I stumbled upon this Egyptian style Slab-Serif, called 'XATURATE'.

This classic looking heavy weight Slab-Serif design was left rather  inconsistent and pretty incomplete. I don't remember why I abandoned
this back then, since this letterforms had great potential. They just needed a healthy fresh perspective and a little bit of extra love to make them shine after all.
──────────────────────────────────────
• polished shape and form
• Rebalenced full character set
• Added multilingual support
• Included many symbols & punctuations
• Overhauled entire metrics
• Partial kerning (WIP)
──────────────────────────────────────
I couldn't be more happy with the final result,

Let me know what you think...

Cheers

OBLONGUS - Modern light weight monolinear geometric sans
════════════════════════

■  Description:
Light weight monolinear geometric sans.

■  Design summary:
One of the most striking features is it's overall well ventilated, light weight and spacious appearence. Some other key features are the glyph's elongated ascenders and descenders. These give the font a somewhat condensed and stretched look. An additional side effect of this is the extra empty vertical space above and bellow a line of text. Contributing even some more to the already ventilated character of the design.
Another key feature are the stylish rounded forms and novel long spurs. I tried to find elegance in it's simplicity, the decorative elements, turns and twists were all done in a very gentle but clearly present manner. All working together these elements give the font a very welcoming, friendly and laid-back vibe. Extra's, such as glyph alternatives will help spicing things up even a bit more.
So, while trying to remain simplistic in nature the font does have some nice stylistic appeal for sure.

■  Tech specs: (measured in square grid units)
Glyphs dimensions:         16 × 8
Weight:                              0.125 (1/8th)
Brick size filter:                 2 ꞉ 2

■  Font features:
 ▪ Basic-Latin, punctuation & symbols
 ▪ Lining & non-lining (oldstyle) numerals
 ▪ Glyph alternatives
 ▪ Partial kerning

■  Update history:
 ▪ [06-24-2022]
     Basic font created
 ▪ [06-24-2022]
     Changed lowecase 'w' with a wider version
 ▪ [06-24-2022]
     Made cursive style lowercase 's' & 'tailed z' glyphs as default style
 ▪ [06-24-2022]
     Partial kerning applied
 ▪ [07-24-2022]
     Added multiple sets of numerals styles
         - Lining (default style)
         - Non-Lining (Oldstyle)
         - Double Struck
           (Slight different, extra decorative, more leaning towards classic style)
 ▪ [07-24-2022]
     Included random stylistic glyph alternates, special characters & ligatures

 - Additional extra characters will follow next update

I hope you like it so far

ARC - Modern geometric sans

================================

Refurbished version of a old Fontstruction.

The idea was to keep it clean and simple.

================================

1/8th stroke weight

Enjoy!

FAKOS VARYTITAS - Incised Sci-Fi style display sans

For now I don't really know where to take this from here. Im pretty pleased with the A-Z characters. The numerals I have mixed feelings about.

The stylistic design parameters make this a pretty difficult font to design, even somewhat holding me back from truly getting anywhere with it.

The glyphs eventually got pretty complex, not really helping me either.

So therefor I decided to go ahead and publish it in this pre-mature development stage. Maybe somebody here has some great solutions or suggestion that might shed new light on it for me.

The font preview on the website look shitty because of composite brick rendering, so check the high-res sample images bellow for a better preview.

Cheers

BLAYDES - A modern geometric Blackletter style

============================================

Playing around with some more experimental geometric forms for a Blackletter-ish font. It doesn't really involve or honors any actual calligraphic traditions. The font is actually just a simple geometric sans that was modified to sort of faking the looks and style of a Blackletter.

I tried replicating various elements that are traditionally seen in a Blackletter, such as: angular-styled segments such as strokes, transitions, tapered endings or serifs with a different approach. I used a set of circular shapes and variations to these in order to achieve a similar effect.

The end result sits somewhere between this obesed airport Grotesk, a contemporary Blackletter and the work of a bladesmith.

It has some very sharp and pointy tips, and for some reason this often very 'sword-like' forms.

STF_DER ZiiLTED - Neo-Grotesk italic hairline sans
════════════════════════════════════════════

[ DESCRIPTION ]
The design is a simplistic slanted geometric hairline letterform with stylistic tapered spurs. Some extra glyph alternates were included to spice up this otherwise boring font, making it a little bit less boring.

The "DER ZIILTED" name was inspired by a poorly English speaking German person that is saying "The Tilted" in English but with a bad German emphasis on the phonetic sound of it hence 'der ziilted'
════════════════════════════════════════════

[ INSIDE THIS FONT ]
■  Basic latin character set with only essential punctuation marks
■  Stylistic alternates
         • Double storey  lowercase 'a' & 'g'
         • Spurless lowercase forms (still in trial stage and likely will change)
════════════════════════════════════════════

[ TECHNICAL ]
     ■  Metrics(in square grid units)
         • design grid                  13 × 5
         • em-square:                   8 × 4
         • cap-height:                   8
         • x-height:                      6
         • ascent:                          2
         • descent:                        3
         • optical compensation:   ☒
         • stroke weight:               0.25

Nearly no kernig was done yet, but will be done at a later stage, since I'm 99.9% sure about having screwed up protocol for glyph 'side-bearings' in Italic fonts. (Still figuring out how exactly this should be handled properly, so stick with me on this matter..)
════════════════════════════════════════════

[ PROCESS ]
Let's start with mentioning that only recently I was still tested 'Very Green' for Italic genetic material (found 0.01%).
I have very little experience doing Italic designs in general, having done only a hand full of trials, and completed only a couple. This is actually only the third 'true' Italic font that I have ever made with Fontstruct, and the second one (I think) that got published. Don't ask me why it took me about 5 years to finally do another, but, let me tell you this; Looking back at it after doing this font — "I now know why". This was tough to say the least.
I can imagine designing Italic fonts in general comes with it's own set of challenges of course. Doing this in Fontstruct only adds numerous challenges on top of that — "what else is new, right?!" Nothing that wasn't expected for the most part. But "holy frog on a leopard", what do I absolutely positively very much regret the choice to do so in such a small stroke weight. This stripped away every possible tollerance and free space for finetuning and making finalizing adjustments to minute little details required to perfecting everything (curvatures, transitions, slants and optical compensation).

I did the best I could to get visual aesthetics at least acceptable, and somewhat complete enough character set for basic latin text. There remain some small imperfections present for now that still need to get addressed.

For example I started experimenting with trying to achieve acceptable optical compensations such as overshoot. For now I only temporarily applied this to the experimental 'spurless' glyph alternate set for trial testing purpose, looking for acceptable results. And only once I found all the necessary solutions for each requisite glyph I transfer these adjustments one by one to the main character set. But all options remain open for the time being, it might so happen that in a later stage I decide not to implement them after all.

The 'spurless' glyph alternates will remain included to the project, but in what final form for now remains uncertain.

So from a typographer's point of view the font surely will look very basic and perhaps even simplistic. But looking at it from a Fontstructor's perspective, this was a lot more than just the average walk in the park for me.

But to be honest, I doubt I will do another Italic Fontstruction any time soon,haha

I hope you like it so far.

Cheers

STF_DAMAGE INC. - Tech inspired condensed geometric sans.

=============================================
It’s a modern rigid square-based geometric sans that was designed to work especially well in body style text. It was carefuly crafted to be a spacious but continuous fill.
The squarish geometry provides a slight mechanical looking, yet clean and very open basic design.

Each glyph was further constructed with more than enough negative space (white space), making sure any text will look brightly lit and feels well ventilated at all times. This is especially welcoming when having to read large chunks of body text.

The uppercase character set was constructed somewhat of a fraction disproportionally taller compared to the  more naturaly proportioned lowercase character set. This to make any line of text that is set in 'all-caps' to bring the impression of being condensed.
This effect is then exaggerated even more by slightly pulling back on the extent of any ascenders and descenders on the lowercase characters.

=============================================

I am pretty pleased with the result, it's overall look is fairly consistent and legible. The condensed effect allows squeezing a good decent amount of horizontal text per one single line of type.

The only thing kind of dissapointing to me was it's smallest possible point size in digital display use. It doesn't do well bellow 20px (14.5pt)in digital format.
20px is the absolute smallest size for everything to look crisp and alligned with the pixel raster, going bellow this point and the font starts to become blurry and distorted.

I wonder what any of u type wizards think so far...

Cheers

STF_VAQUUM 67 - A MICR style font

The font is loosely based on a screenprint named "Vacuums"
taken from a 1967 portofolio work by Eduardo Paolozzi.

It's not an accurate 1:1 copy, instead I tried to make it slightly more proportional version inspired by the original work. The font is done in all caps with some glyph alternatives in the lowercase string in order to slightly more accurate mimic the original print text.
===========================================
The original print was most likely based on the "Westminster" typeface
that was designed by Leo Maggs and was inspired by the MICR(magnetic ink character recognition) system used on bank cheques.
Several other imitations of Westminster are out there, with most well known probably being the "Data 70" typeface.

Cheers

STF_ELEGANZA  -  A contemporary Grotesque sans-serif typeface.
================================================================
A font style, that while simplified by old tradition, saw new light by modern sophistication.

It comes in a solid, slight bold style that is very suitable for headlines and advertisement.

This font originally was one of my earlier works here on FS, but never realy took off or solidified into something complete and satisfying.
That was, until I recently did some digging in my private collection of incomplete and unpublished Fontstructions, searching for potential candidates and forgotten gems ore ideas that deserved a chance for a second-opinion.

================================================================

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 geometric shapes and aim for perfect circular, triangular or square shaped letterforms, and in return give many of them a somewhat harsch and featureless mechanical appearance. I choose to achieve the opposite, aiming for a softer, friendlier and more humanized feeling instead.

So first of all, I started by waving a proper 'good-bye' to the basic square-circular implementation of geometry, and went with asymmetrical curves for this font. I also choose to adressed the typical absence of most weight contrast in other similar designs and added a vertical orientation of weight axes with a slight contrast modulation between thick and thin strokes.

Other typographic features I included are:
• Terminals that curve all the way round, ending horizontaly. Giving them more of a classic Neo-Grotesque style 'folded-up' look.
• Stems have canted angular ending terminals and slightly vary in height for the ascending and descending strokes.

I hope you like it...

BACK TO THE FRAKTUR - Modular geometric calligraphic blackletter

============================================

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

STF_VINDALOO (Regular Condensed) - Style variation in the 'VINDALOO' font family

=============================================

Cheers

STF_VINDALOO (Regular) - Style variation in the 'VINDALOO' font family

This is the lightest version in this font family and is the most suitable style for more of a body text use.
=============================================
Of all the versions this one proved to be the most challenging one to implement all the stylistic details the heavier versions also feature. And in the end I was unable to transfer each and every one of them into this version. But that seems to be far from any issue at all since this is aimed at smaller point size and best legibility. So I guess some slight extra simplicity wouldn't harm!

Another notable difference in this version is that some glyphs received more changes than just a 1:1 straight weight cut. This was done because either a straight weight cut would've made the character look awkward or due to technical difuculties.

Despite the above I think it came out just great, and absolutely a clearly recognizable family member.

=============================================

All the versions will receive more language support soon (stay tuned)

I hope you like it so far.

Cheers

STF_VINDALOO (Extra Bold) - Style variation in the VINDALOO font family

STF_VINDALOO (Extra Bold Condensed) - An extra bold and condensed Art-Deco display sans
===========================================
This initially had already been a published work from my early days of Fontstructing and the original had a lot that was less than desirable. For a start, the obvious rookie mistakes, that were due to the lack of typographic education as well as insufficiant knowledge about the overall Fontstruct-Editor Expert-mode features.
 - - -
Now several years later, fully acustomed to the physiology of Fontstructing (composite bricks, filters, behaviour) but above all, to be able to visualize ahead and to conceive imaginary conceptual thinking for new ideas or solutions within the FS-Editor limitations. And in return to bounce back from these restrains and make them work in my favour.
So now I feel like I have to give some of my older Fontstructions a serious reassessment, and perhaps do some revisions here and there.
There are numerous hidden gems and potentials within these works, for which back in the day I remained unable to accomplish to their full glory and complete satisfactorily successful end result and design objectives.
 - - -
To get back at this particular font:
There was some unsolidified hidden beauty in certain forms that had yet to 'truly' be revealing itself. I completely overhauled a clone but basically ended up with more of a new font instead.

And I really like it

B-)

ART-FRÉCO - Art-Deco style typeface
==============================================
My second Fontstruction that honours the work of Fré Cohen.
==============================================
In loving memory of the great Dutch graphical designer

Frederika Sophia (Fré) Cohen(August 11, 1903 – June 14, 1943).
==============================================
Unlike the previous font that was solely based on digitizing one specific lettering concept, this one is more of a 'inspired' mixture of the various works by Fré Cohen.

The font features a full uppercase set that has the main focus. Everything else was build to supplement mainly these. It features a mixture of glyphs alternates in both upper and lowercase form to make some decorative typographic variations.

More fine-tuning will be done soon!

DECO-TESK - Bold Art-Deco display style

=================================
No filters
Grid: 4 × 5  (small grid !)
Glyphs: 3 ×4.5  (+1 ascends & descends for punctuations)

=================================

My 3rd  font for the "HeavyComp"

It's a all-caps Art-Deco display font. 

OP Art style lettering, but oh my god this is painful to the eyes!!

For that reason I'm done with it. If anyone is in the mood for a brain cooking project, be my guest, I made it clonable!

Cheers

STF_FRONTAL BOSSING - A groovy bold and rounded Sans Serif typeface.

═══════════════════════════════════

This is going to be my second entry in the "HeavyComp"

═══════════════════════════════════

ABOUT THIS FONTSTRUCTION:

TECHNICAL:
Grid:  17 × 16 square grid units (incl. descends, overshoots, accents)
Filter: 2 × 2 brick size

BIO:
The idea was to come up with a friendly chubby fella.

And for all I know I think I have done just that. In the end, it does seem to appear it came out with a slightly bigger forehead than the average (but, no love was lost here, we have come to learn to appreciate the misfits).
Despite its weight and slightly clumsy appearance this juicy Mr. Boogie still got dat funk, and can not wait for it to be the next saturday night.
Even so, when he for once isn't told to "Swing and Boogie" he still is nice to have hanging around. His friendly persona is only to be matched by the ever so nice soft curves. "No sharp edges to detect here".
I can only hope for that all of you come to appreciate him as well! ;-)

(Let's do this in another language as well)

CONCEPT:
The idea was to make a letterform that has a friendly looking design. I tried to achieve this by way of softening all hard convex corners with a smooth rounded curve. And by "all" I litteraly meant, even on all diagonals, accents, thin strokes and stroke tips (Nothing was left untouched).
For all the concave corners, so the negative space (white space) of the letters have multiple solutions depending on what is happening (does it curve, intersect and or wether a stroke continues or not)

The curves all have near hi-res looking (a couple of minute imperfections) but otherwise smooth surfaces, and there are multiple custom created ratios/transitions, such as:

1.5×1.5,   2.5×2.5,   2.5×3,   3×4  (+  The bullet is a 7×7 curcular dot)

I hope you like it,

Cheers

(PS: Sample follows soon)

STF_VOORTGETROKKEN - Futuristic monoline display type design

STF_LIQUID DISCO (Solid) - Sollid filled style variation on:

Liquid Disco (Outline)

=====================================

The "Heavy Competition" was the perfect excuse to finaly blow some new life in this older project.

=====================================

This font family is a funky looking display sans. The original outline version was inspired by music advertisement and psychedelic arts.

This follows up on the first version with a rock solid filled glyph.

I hope you like it, cheers!

VEROORDEELD - A geometric slab serif

This is a small type family with two style variations, see links bellow!
 • Display    Bold contrasted display version
 • Text        Light weight monostroke version    ◄- U are here!

Fontstruct remake of Senator by Emigre.

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...

STF_METROPLEX - A discrete non-cursive gothic printscript.
======================================================
Its a 'block letter' script. aimed to resemble handwriting that was somewhat rushed and therefor slightly sloppy looking.
The inspiration for this loosely evolved around the idea of a simple handwriting style with medium tip marker pen, a writing style most commonly used and seen in simple everyday application, such as quick notes, bulletin board writing, block format business style as well as in study notes.
======================================================
The font combines a bit of two styles into one, with the capital letters done in a 70's Streamline Art-Deco style with at their core a distinct clear geometric backbone. When this is used in "all caps" it could provide for a solid looking headliner. For the lowercase I designed this playful and very dynamic script style that looks very much like a handwritten printscript.

The capital letters are designed with a minutely reduced cap-height relative to the point size. This allows the upper-case set coincide better with the dynamic variations and overshoots on the x-height in the lower-case set when type is set a mixed-case format.

Only partial kerning applied (sorry), but this was a horrible pain in the .... to get somewhat spaced decent enough!

Cheers

NEXT SKYCITY - A decorative future-retro art deco style display typeface.

=======================================================

This is a remastered and extended sequel to an pre-existing older design I did.

Now, the reason for this was due to the fact that there was a lot going on in the older version I simply just wasn't satisfied with.

=======================================================

This new and extended version includes an overall more streamlined and consistent design. Much improved and more balanced looking numerals.

Also have I corrected and added numerous punctuation marks, and, last but not least.. What truly changed this previously more of a lettering idea type design into a relative usable full font is, the introdiction of a simple and legible geometric lowercase string. Make the font far more suitable for body text.

The uppercase and numeral strings are a random mix of both normal open stroke-based geometric letterforms and stylistic filled letter-contours, that, when arranged like this making the uppercase character set look playful and slightly future-ish retro at first, yet a somewhat strangely ellegant sophistication that is ever so gently present. This could be used in isolation for a strong and convincing decorative headline text, or in conbination with the lowercase for a surprisingly readable an clean looking body text that has the occasional occurance of a decorative capital letter.

I hope you like it so far...

ELEKTRON AR-LCD 1 - Re-creation of the 6x6 dot matrix font that is used in the "WinstarWG12232A" 122x32 graphic LCD display module on the "Analog Rytm"drum machine by Elektron

====================================================

I used filters to mimic the original module's dot size and dot pitch:

Horizontal brick size: 0,89
Vertical brick size: 0,91
Horizontal grid scale: 0,8
Vertical grid scale: 0,94

====================================================

This is just one of the fonts that is used in the "Analog Rytm", there is number of different font size and designs used throughout the device's OS interface. Used together to create clear hierarchy and structure in the individual components.

I will try to provide the remaining others as seporate fontstructions as well soon.

ELEVATED (PRINT) - 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".

===========================================================

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

This rework has one major difference compared to all previous versions, once more it was constructed with a different size to grid ratio, one that corrects the size distribution, enabling the recreation of the original sketch with high accuracy.

The stroke weight in this "PRINT" version more accuratly mimics the original sketch and therefor is not optimized for digital display use.

===========================================================

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!

STF_SKYR SLAB - A modern slab serif design.

First of all, Hi everyone,

I hope you all doing great...

Seems that for now I have found my way back here, after being away from Fontstruct for nearly 2 years.

I got to admit that I experienced some ring rust at first. lol

Anyway, here is my latest fontstruction, the first one in 2 years.

So far the main design concept and the basic minimum glyph set is about completed, and I am pretty pleased with the result up untill this point.

More technical details on the design and concept as well as demo gfx can be found down in the comment section.

I hope you like it too so far

Cheers

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".

===========================================================

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).

===========================================================

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 througout 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.

===========================================================

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!

STF_STROOMLIJN - A tall condensed and streamlined art deco typeface.

===============================================================

Glyph alternatives and non-lining numerals are located in Halfwidth And Fullwidth unicode block.

I hope you like it,

Cheers