Alegreya Sans SFN is a Small Caps companion family to Alegreya Sans, a humanist sans serif family with a chinese, jpn feeling that conveys a dynamic and varied rhythm. This gives a pleasant feeling to readers of long texts.
The family follows humanist proportions and principles, just like the serif version of the family, Alegreya. It achieves a ludic and harmonious paragraph through elements carefully designed in an atmosphere of diversity.
The italics bring a strong emphasis to the roman styles, and each have seven weights to bring you a wide typographic palette.
Alegreya Sans provides for advanced typography with OpenType Features such as small caps, ligatures, fractions, four set of figures, super and subscript characters, ordinals, localized accent forms for Chinese, Japanese, Russian, Spanish, and others.
The Alegreya type system is a super family, originally intended for literature, and includes sans and serif sister families.
Designed by Xankfomatik170.
WIP
See more:
https://fontstruct.com/fontstructions/show/1500535/contortion-c
https://fontstruct.com/fontstructions/show/1577341/zoftly70-eye-fs-3
https://fontstruct.com/fontstructions/show/2256589/sidetracked-6
This is a clone of zimonart R eYe/FSSPOKOYNOY 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
Recreation of the pixel font from The Game Kitchen/Team17's "Blasphemous II" (2023).
Expanded slightly to complete the accented characters. Otherwise, only the characters used in the game have been included.
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
Aa: Argentina, Australia
Bb: Brazil, Bangladesh
Cc: China, Canada
Dd: Germany, Denmark
Ee: Spain, Ethiopia
Ff: France, Finland
Gg: Greece, Ghana
Hh: Hungary, India
Ii: Italy, Indonesia
Jj: Japan, Jamaica
Kk: South Korea, Kenya
Ll: Latvia, Lithuania
Mm: Mexico, Malaysia
Nn: Norway, Netherlands
Oo: Oman, Austria
Pp: Poland, Pakistan
Qq: Qatar, Guatemala
Rr: Russia, Romania
Ss: Sudan, Saudi Arabia
Tt: Turkey, Thailand
Uu: United States, Ukraine
Vv: Venezuela, Vietnam
Ww: Belarus, Sweden
Xx: United Kingdom, Israel
Yy: Yemen, Iceland
Zz: Zambia, Zimbabwe
I will add more in the future...
Feeling inspired after reading Arcade Game Typography: The Art of Pixel Type by Toshi Omagari, I set out to make my own 8x8 pixel font. I worked with a similar approach to the one I used in the larger grid font offstruct rgb.
First started in Adobe Illustrator, each character consists of three iterations of the same 6x6 pixel letter: in RGB Red, Green and Blue. These were layered, offset by one pixel diagonally, filling the 8x8 box. To achieve additive blending, I applied the "Lighten" transparancy setting. Combinations of overlaying these three primary RGB colours result in the secondary RGB coloured pixels Yellow, Cyan and Magenta. In the additive mixing of coloured lights, the equal blending of all three primary colours results in White. All pixels were then entered manually into the fontstructor and black pixels were added for display purposes.
This Fontstruction is a joint venture between Dmitriy Sychiov and myself, Sed4tives.
A while ago I had the concept basic forms for this design pre-published in an effort to try and reach out to y'all, asking if any of you was interested in joining me in this attempt to create a multi member community collaboration.
The original idea had I invisioned at that time was; presumptuous that most writing systems have two parallel sets of letters that can be used to distinguish between upper- and lowercase. That hypothetically could than be divided in two separate "Half-A-Bets"(oopz, lol). One one for upper- and a second for lowercase. Allowing two Fontstructors to each choose their own designated section within that specific language. But enthusiasm quickly reached critical mass, making a mild gesture go ballistic and somehow sketched this crazy wild idea of having multiple participating parties that each reserved one-half of a language within one of the several designated ranges for the Basic Multilingual Planes (preferably within their native writing system if possible), and in turns to each have them supply the glyph set for their section.
Oh, and "Sweet mother of a blind gekko", boy what was I wrong, as eventually only one Die-Hard going by the name Dmitriy hooked up with the project in the end.
So hereby I proudly present the results of this combined forces:
"Gesamtkunstwerk" — A Futuristic sci-fi stencil sans
The philosophy behind the FontStruction was to publish the completed font with open font license (so that it is clonable). Feel free to redistribute/share, clone, learn or even refurbish mash-up and re-publish your version.
— [The original collaborative project is now closed for any new participating parties, sorry!]
Some small things still need additional work, such as kerning (which is incomplete and remains a WIP for now), Cyriillic script still missing uppercase set. All of this is scheduled to be included soon, so stay tuned..
hope y'all simply enjoy it so far nonetheless!
Cheers
This is a cloneSTF GROOTESK Pro ― Contemporary geometric grotesque
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A clean and geometric grotesque sans-serif typeface that is equipped with tons of extended professional editorial typographic features,
such as:
Multilingual support in 3 script writing systems for 113 languages, glyph alternative forms, stylistic ligatures, accents and punctuation marks, symbols, technical, ordinal, pictographs, additional dingbats.
15164 stored kerning-pair and many other professional features!
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[ TECHNICAL ]
■ Metrics(in square grid units)
5.0-Em / 0.5-Stroke
2.0 : 2.0-Brick Size Filter
Em-Square: 5.0
Cap-Height: 3.25
X-Height: 2.0
Ascent: 0.875
Descent: 1.0
Overshoots: 2 × 0.0625 Top/Bottom - (uppercase only)
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■ [ ADDITIONAL EXTRA IMPORTANT RELEASE NOTES ]
Previously published as a (non-Pro)-version with the same name.
But when that version eventually corrupted, it rendered it useless.
And after several repair attempts the innitial isolated "FS-editor" native
brick corruption eventually was fixed! But from this point onward all theFontStruct-generated-*.TTF-files downloaded from this particular FontStruction delivered a broken TrueType-font file, that upon its installation process resulted in having a error. Leaving me, or anyone for that matter who had downloaded it, unable to get it or its updates installed.
So after unsuccesfull struggling for a while I noticed that the cloned version didn't generate a broken *.TTF-file. So I decided to terminated the original FontStruction and delete it.
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■ [ DESIGN INFORMATION ]
The main inspiration came from those early to mid-20th century geometric grotesques, and visual environment of that era.
Although the characters were mostly geometrically constructed, and remain as close as possible to basic geometry, "STF GROOTESK Pro" includes a blend of stylish hints of hand-crafted lettering influences and intentional irregularities in order to tribute those classical geometric designs.
For extra additional emphasis the design tries to take advantage of a rather unusual vertical Uc>Lc proportion, with ascender parts of the 'Lc' characters sitting well bellow the cap-height, making the 'Uc' appear strikingly taller in comparison. Essentially providing the uppercase with a more "Condensed" feel. Some of the other characteristics of the design are it's sturdy and stylish yet clean presence, with little to no contrast, and it comes in bold style only. But to compensate for the lack of extra weight versions there was some serious time invested into additional testing and optimizing the entire typeface. So it is super well mastered and therefor extremely versatile.
That being said..
Looks can be deceptive at quick first glance, and this indeed might appear as being a very basic looking design. Even though this in fact is far from being just that other basic looking display sans, nor your next boring geometric grotesque!
From a FontStructor-perspective point-of-view I recommend to take a more ‘close-up’ view of the design's finer details. This creates a better understanding and greater appreciation for the extreme level of complexity that is present in both form and function.
Zooming-in on some of the letters would reveal the font's subtle, yet nuanced diversity of that 'previously' hidden underlying personal characteristics that usually remain invisible in text format at smaller point size. Now suddenly just its overall care for finer detail and overall quality within every bit of the design, the tons of custom shaping, stroke transitions and additional smoothing will gradually emerge as zoom levels get ever deeper. At its deepest level it will even shed some light on the surgical stuff that mostly works invisibly and without the awareness of its reader.
A display typeface at it's core, still it performs equally great in very small body-print text or web design application, as it does too in larger format for headings, ads or branding.
Thus providing, this very function efficient and reliable work-horse,
a truly genuine "one style fits all" typeface powerhouse.
And there its no question whether this could hand out "a 'one-punch' K.O." of a Headliner, thats obvious. But this unyielding bumpy behemoth just as well takes u for the long run, effortlessly telling you fascinating stories.
Especially well cared for optimized rendering on a computer display device, and deliver simple yet versatile seemless digital typeset material.
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■ [ SPECIAL NOTE ]
A big thanks and 50% of the design credits for the lowercase 's' go out to elmoyenique
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■ [ "Pro" VERSION EXTRA'S ]
The new "Pro" version update for GROOTESK utilizes several TrueType smart-font features and control characters to map two or more glyphs for combining glyph composition.
Ashlander Pixel is a pixelated version of "Goudy Medieval". Born out of a deep love for Bethesdas "The Elder Scrolls"-series and typography this font not only supports the latin, greek and cyrillic alphabet, but also contains a variety of special symbols related to The Elder Scrolls.
I suggest using the ttf-format for now as the spacing in the otf-format is for some reason totally off. I optimized this font using InDesign, therefore the kerning in some other programs might not work as intended.
I am happy to hear feedback on this font and any issues you might encounter.
May the Nine be with you.
Recreation of the pixel font from Konami's "Pop'n TwinBee" (1993) on the SNES.
This recreation uses the special TTF+SVG format, which currently has limited support. For a monochrome version, see this recreation.
The same font (with a few extra characters like the "%", "×" and "/", which have been added here as well), was used in the follow-up "Pop'n TwinBee: Rainbow Bell Adventures" (1994).
Only the characters present in the game's tile set have been included.
This is a clone of Pop'n TwinBee (SNES)SANS SERIFSCO — Humanist / Neo-Grotesque Sans-Serif
A contemporary neo-grotesque sans-serif design with regular weight.
I tried to add subtle diverse and nuanced visual elegance while still remaining minimalistic. Most significant feature is the subtle stroke modulations, distinguishing this from a more geometric style.
Designed to be versatile and suitable for a wide range of different purposes and optimized for legibility in small point size body copy.
The font was constructed on a large grid using linear interpolation (also known as faux-Bézier method). This allowed the most freedom for constructing more complex custom forms, curvatures and all the various stroke modulations.
The font has a total vertical height of 88 square grid units, this is including all optical compensations, ascends / descends and accents.
I love these kinds of fonts that have geometric puzzle-solving quality in the design. I was quite happy with how the lowercase found a way to be connected. Then I thought let me not mess with anything else. But a Z is so much like a 2, so I created the 2 out of the Z. Then when 2 was done, I was aprehensive of tackling the 1 because the vertical stem would be off by one brick, and how would that be resolved. Reluctantly I tried it...and it worked. 3 can be created from the B, but the B hasn't been created yet. OK, I guess I have to do the uppercase. A was easy. B was surpringly easy. Which gave me motivation to go on. And surprisingly soon, the whole thing came together. The hardest letters to shape were X and S. Not all letters are very successful, but they are distinctive enough to be recognized as themselves. Not sure about the =, but it will do, I suppose. In any case, no kerning required.
Dredging another font from the long-lost depths. "Zastava" was my first font to be given a Top Pick, a not-so-subtle take on the Art Deco classic "Bifur." The naming convention for fonts at that time was translating random words into other languages and finding the "coolest" sounding one. "Zastava" being a Serbo-Croation/Slovene word for "flag/banner." This reinvention borrows from the old trend using another vexillology term, referring to the swallow tail design of the "K" and "M" among others. Please enjoy~