STF_FRONTAL BOSSING - A groovy bold and rounded Sans Serif typeface.
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This is going to be my second entry in the "HeavyComp"
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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 circular dot)
I hope you like it,
Cheers
(PS: Sample follows soon)
DER ZiiLTED - Neo-Grotesk italic hairline sans
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[ 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'
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[ 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)
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[ TECHNICAL ]
■ Metrics(in square grid units)
• em-square: 11 × 4.5
• 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..)
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[ 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_STROOMLIJN - A tall condensed and streamlined art deco typeface.
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Glyph alternatives and non-lining numerals are located in Halfwidth And Fullwidth unicode block.
I hope you like it,
Cheers
This is a cloneBODINI 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
This is a clone of STF_DOBINI BALWAUM (Inline)NEXT SKYCITY - A decorative future-retro art deco style display typeface.
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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.
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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...
This is a cloneSTF_Teknolog1k - Contemporary tech looking sans-serif typeface.
Once more a pretty thin design.
Brick filter @ 1x1
grid scale @ 0,85x0,85(to restore unwanted vertical spacing caused by nudging)
0.5 grid square unit weight.
Enjoy!
REWINDER - A bold and decorative "I don't have a clue" style font.
Alternative lowercase versions for (a, c, e, g, j, m, n, o, q, s, u, v, w, y, z)
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Usually I design fonts from a general concept I have in mind and start with the Latin alphabet first since I am most familiar with these characters. Then when I have completed these I start adding extra language support. letting everything evolve from there on out into the other languages such as Cyrillic or Greek. Doing it in this fashion I find myself having the best change of doing a decent job designing characters I am not familiar with the right way and in line with the design parameters.
This time I starten designing the Cyrillic alphabet first, trying not to think about the Latin set design at all. I did this in an attempt to have a neutral mindset that wasn't influenced in doing it a certain way.
And I must admit, this was the best and most comfi time I ever did a Cyrillic set. I experienced a sense of having a lot more freedom for creative output.
The result became this cool looking "hell knows" what kind of style letterforms. I have no clue if I actually did a decent and accurate job at the Cyrillic set, and I'm not sure where to go from here on out either.
I hope you like it so far
Cheers
STF_PRÆSENS - A geometric retro display sans
The source for this font was the lettering seen on the cover of 1930's second issue of "Præsens". A Polish avant-garde artistic magazine from the interwar period that was designed by the architect Szymon Syrkus. The letters on the magazine's title formed the baseline to extrapolate the complete font.
The magazine got published throughout the first part of the previous century and was similar to other magazines from that same era such as:
DeStijl, Wendingen & Het Overzicht.
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
This is a cloneBACK TO THE FRAKTUR - Modular geometric calligraphic blackletter
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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
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 fat yet, and some may never will..
For now only Basic Latin letters, it remains a WIP
I hope you like it so far,
Cheers
Numerous single brick pattern fillers and connectors, ready for you to use/clone/copy/change and put into your own designs or whatever.
All patterns are designed to work as a selection fill. So in other words: the patterns will always look the same regardless of the dimensions of your selected area!
They come in a wide range of styles such as: Retro, Tile, Seemless, Textile, Composite, Glitch, Minimalism
All bricks are stored and saved in the custom brick pallet.
Enjoy!
ALIEN WORMHOLE - Monolinear Sci-Fi-inspired 'worm' typeface.
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[Historic snapshot:]
Most well known worm-type design probably is NASA's retired 'worm' logo (used from 1975 till 1992).
A sophisticated modernist rendering of the letters (N-A-S-A), done in a bold style letterform.
That being said, I should mention that this FontStruction wasn't "inspired by" or "based on" the original NASA logo though.
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[About this font:]
Small grid attempt at making sort of a experimental futuristic 'worm'-type design.
The letterforms for the most part are build from simplified basic geometry (rectangles/circular) except for a small number of symbols and punctuation that have diagonals.
It's experimental appearance is defined by the strikingly quirky counters that are awkwardly jutting out of the stems. To further boost it's awkwardness the letterforms have irregular width.
There is a full set of uppercase and partial lowercase glyph alternatives located in "Half Width Full Width" Unicode block to add slight stylistic variations.
I hope you like it,
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Here is a link to the 'Bold' version
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Cheers!
Mostly a filled version to DECODER but with some modifications, especially on the diagonals. This because the way they were designed in the outlined DECODER font made them look far too thick in a solid version. So on these I cut weight to get a better visual balance. I kerned some pairs but a lot still needs to be looked into, which I will soon!
Cheers
This is a clone of STF_DECODERGOSPEL 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 ascending / 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.
Part of a multistyle typeface family "ALIENSTRA".
This is the first one that got finished for this project, a buch more will follow in this same family.
This is a decorated variation on the solid style (one that will follow soon as well).
Enjoy!
Part of a multistyle typeface family "ALIENSTRA".
This actually was planned to be the first but issues with the original forces me to rebuild it completely. More styles will follow.
This is the cleanest variation in the planned display styles.
Enjoy!
This is a clone of STF_ALIENSTRA SOLID (IRREGULAR)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
BACELAR & İRMAO — All-caps (Majuscules) 'Art Deco' display sans
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Revival of the Art-Deco lettering seen on the medical supply store sign of
"Bacelar & Irmao, Lda."— Porto, Portugal.
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I tried to keep it as faithful to the original as I could without compromising too much.
But in order to make them fit a complete typeface when doing these kind of revivals from lettering that were never intended to be a complete 'A-Z'-alphabet can sometimes be tricky not to have certain aspects get lost or slightly modified. As was also the case in this effort...
One of those specific changes for example was with the 'Capital A with tilde'.
In the original store sign the style of the tilde is fairly novel and unique. And seen in that particular situation used 'as is', its pretty self-explanatory of course, and works just fine. But viewed in isolation it is hardly recognizable as a tilde. Not to mention if it was part of a complete typeface that includes multiple accented letters. In that case I thinks it is very confusing and rather useless when it has to resamble the tilde. To overcome this issue I created a new capital letter 'A' with a more traditional and better recognizable tilde.
But obviously I had to somehow preserve that original and quirky novelty as well. So I included it into the location for the capital letter 'A' with ring above. I think it suits that spot much better to be honest. So in the end nothing really got compromised.
I hope you like it
Cheers
Westmobster NRC — Magnetic Ink Character Recognition style
A typeface design inspired by the MICR aesthetics style.
I haven't checked and compared this against any of the others already in existence, but due to this it's obvious that this is going to share several resemblances with other similar fonts that are out there.
But I'm pretty confident that this isn't just your next Westminster or Data70.
Just to point out one of the unmistakable difference here for example, is the more distinct Sci-Fi characteristic, which is especially strong within it's uppercase set.
This sort of fonts have been strongly associated with computers technology, especially in the late 1960s and early-to-mid 1970s. Nowdays these lettering concepts are frequently used to indicate computer involvement in television series, films, books, music fashion and several other media.
In the 1960s, the MICR fonts became a symbol of modernity or futurism, leading to the creation of look-a-like "computer" typefaces that imitated the appearance of the MICR fonts.
It still requires some minor adjustment and tweaks, but the global concept is finished.
Let me know what you think,
Cheers
A little bit of a experiment in finding interresting letterforms in the most basic of geometric shapes and without the use of any complex fontstructing techniques. And the only expert mode feature used for this was making composite brick to get the different slants and stroke weights.
Bellow I will include some further in-depth info about this design.
But, I'm very pleased with the final result.
Enjoy!
SPOKOYNOY NOCHI — 1920's Art-Deco style
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This is a simple monolinear Art-Deco unicase font. Upper & Lower case glyphs are the same sets. But in addition to the unicase (default style) there is a full alphabet of glyph alternate forms located in the Half Width And Full Width Forms Unicode block.
I done global kerning, but extra pairs are still required..
I hope you like it,
Cheers
MAUHAUS ― Feline inspired type design
[ THE CREATIVE PROCESS ] ━━━━━━━━━━━━━━━
This font was made because I have a cat. I love my cat, and this delight of a friend obviously loves me back. In addition to all this love, I also love to craft fonts, my cat is not to very fond about this.. So she loves to craft all sort of drama to gain my attention. Wearing me down with her mere persistence. I'm not to very fond about this.. So I slab her in the tiny face and modulate the crap out of her, stressing that nifty lil' stalker-happy pleb untill she gets a stroke. Than I make gashing incisions to all her intersects, making a pet-stencil.
No cats were harmed while making this font, this is just how we roll.
And one might wonder what a apple is doing inside a cat-font?? I know, but dont worry, the cat isn't a vegi...
― Lena say's 'Mauwww..' to all fellow FontStructors
[ FINAL WORDS ] ━━━━━━━━━━━━━━━━━━━
I guess that didn't clarify the ins and outs of this design, thats too bad !!
All I can say is that this is once again another concept following in the footsteps of the 'Bauhaus'-minimalism style and philosophy. Since I was not done yet with this whole raging Bauhaus frenzy..
― Lena hopes that nobody likes this font so far...
Meow