STF_DAMAGE INC. - Tech inspired condensed geometric sans.
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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.
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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.
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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 (Tight) ― Contemporary geometric humanist sans
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A font style, that while simplified by old tradition, saw new light by modern sophistication.
It comes in a solid medium weight that is very suitable for body style text with good readability, but it does perfect clean headlines or ads as well.
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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 pure 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.
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Dimensions: (in grid units)
X-Height: 1 .625
Cap-Height: 1 .875
Em: 3 .5
Brick Size filter: 2 : 2
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This version is the 'Tight'-style in the 'ELEGANZA' typeface family. It has a slight compressed effect on its vertical axis that sets this apart from typical proportioned faces. Tightening the Leading and allowing greater quantities of lines per inch.
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The other style variations can be found here:
ELEGANZA (Therapy)
ELEGANZA (Tall)
I hope you like it...
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
STF_VINDALOO (Regular Condensed) - Style variation in the 'VINDALOO' font family
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Cheers
This is a clone of STF_VINDALOO (Regular)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.
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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.
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All the versions will receive more language support soon (stay tuned)
I hope you like it so far.
Cheers
This is a clone of STF_VINDALOO (Bold)STF_VINDALOO (Extra Bold) - Style variation in the VINDALOO font family
More versions coming soon!
Cheers
STF_VINDALOO (Extra Bold Condensed) - An extra bold and condensed Art-Deco display sans
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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.
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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.
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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-)
This is a cloneART-FRÉCO - Art-Deco style typeface
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My second Fontstruction that honours the work of Fré Cohen.
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In loving memory of the great Dutch graphical designer
Frederika Sophia (Fré) Cohen(August 11, 1903 – June 14, 1943).
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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
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No filters
Grid: 4 × 5 (small grid !)
Glyphs: 3 ×4.5 (+1 ascends & descends for punctuations)
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My 3rd font for the "HeavyComp"
It's a all-caps Art-Deco display font.
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)
STF_LIQUID DISCO (Solid) - Sollid filled style variation on:
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The "Heavy Competition" was the perfect excuse to finaly blow some new life in this older project.
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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!
This is a clone of STF_LIQUID DISCO (Outline)STF_METROPLEX - A discrete non-cursive gothic printscript.
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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.
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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
This is a cloneNEXT 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 cloneELEKTRON AR-LCD 1_6×6 - Re-creation of the 6×6 dot matrix font that is used in the "WinstarWG12232A" 122×32 graphic LCD display module on the "Analog Rytm"drum machine by Elektron
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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
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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. 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.
The other fonts:
ELEKTRON AR-LCD 2_5×8
ELEKTRON AR-LCD 3_6×6
Enjoy!
ELEVATED (PRINT) - A 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 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.
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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!
This is a cloneSTF_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 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 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).
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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 throughout 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.
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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.
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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 cloneSchlanke 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 function 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
STF_CARE SENSITIVE - A modern hairline sans style typeface.
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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!
This is a cloneWork 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
TYPE-O-NEG4TIVE ― Avant-Garde reverse-contrast inspired sans
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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 !
This is a clone of STF_JS-SATER (ISOMETRIC)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!
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 (near) Bézier-like curved shapes 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 2×2 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 simply 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
STF_BODIDONE - Classic Didone style display serif.
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
STF_Littera Textualis Emergo - A formal Gothic minuscule script.
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
This is a clone of STF_SCRIPTORIUM (SHADOW)