--nebu steel AG--

an geometric steel font made by using 2x2 filters.

This is my Christmas present to the Fontstruct community.

Had quite a bit of fun with this blueprint inspired font for the competition, numbers have been incorporated to best measure glyph length, angles and so forth. Please enjoy~

ANTI-QUE — Asian calligraphy inspired
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Anti-que features a romanized lettering concept that was designed to mimic the stylistic properties of Asian calligraphic characteristics.

m0425_Geohaus is a bauhaus-inspired sans serif typeface.

BOOTSHAUS — Geometric "Bauhaus"-inspired modernist sans
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Bootshaus is another endeavour into the Bauhaus realm of typography.  

Focus for this font lies mainly within it's broad choice of glyph alternate forms to select from for stylish texts or logos.

Much of the extra glyph alternative forms are loosely based on the lettering by Sascha Lobe for the Bauhaus-Archiv

Many more glyph alternative forms are planned to be included, stay tuned..

— WIP

Cheers!

Fauxhaus — Geometric minimalist modernism sans-serif design
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[INSPIRATION]
As the name already suggests, this indeed was inspired by the Bauhaus-typograpy towards functionality style.

More specifically by Austrian artistic polymath Herbert Bayer's 1925 experimental "Universal" alphabet.
The alphabet he designed became somewhat synonymous with the school's identity, and probably is the most well known Bauhaus typeface, and truly epitomizing that typical simplified "Form follows function" Bauhaus-minimalism style. It was also used for the new Bauhaus-building signage.

Some key features in Bayer's original form are those easily recognizable geometric sans-serif letterings, with letter composition based on strong basic geometry, having eliminated all decorative elements of the letterform composition for that crisp industrial, slight mechanical minimalist aesthetic. Bayer's original Universal alphabet also eliminated the need for a upper case letter, further simplifying it towards more of a functionality-driven standardization. Bayer developed multiple revisions and variations of the alphabet. Sadly Universal was never cast as a font, as during that era they weren't manufactured into printing typefaces, and the designs would only exist as drafts (as was the case with all Bauhaus-typefaces). Nonetheless it served as a lettering model for Bauhaus students, colleagues, and followers alike, and they were regularly re-used for signs, book covers and publications by many of its members, but even beyond institution walls the typographic style began to gain a foothold. Throughout the years we have seen a multitude of revivals and other Bauhaus-inspired typeface designs. Some of which that try to be faithful digitizations of the original, whereas others taking a more artistic approach to the style by providing their own personalized reinterpretation of the Bauhaus-aesthetic. So even to this day, many decades later, it repeatedly continues to inspire and influence designers time and again.

Bayer, First a student and later junior master of the printing workshop, was one of Bauhaus’s most influential attendees, advocating the integration of all arts throughout his career. Though not trained as a typographer, he was also assigned with the task of creating a universal visual & typographic identity for the school.—a task Bayer took very serious. Sparking perhaps the most mythic typeface to ever come out of the Bauhaus, which is "Universal"—one that at that time strove to be as idealistic as the school itself
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[THE "FAUXHAUS" FONT]
This is an artistic reinterpretation of Bayer's "Universal" alphabet.

Aiming to preserve the unmistakable style and simplistic geometric stylistic properties of the original, while in the same time allowing a more 'free-form'-approach towards crafting the letterform compositions. This of-course as long as they remains in-line with the stylistic properties of the original. And for the lack of having a better explanation;

—To do sort-of a 'faithfully different' artist depiction of Bayer's original Universal alphabet.

Some notable differences made in Fauxhaus compared to Universal are the re-introduction of a upper case form and the slight de-simplification and inclusion of subtle decorative nuance.

In some cases I've choosen to compose certain specific characters to be more or less identical as to how Bayer originally intended them, whereas others may be entirely different looking. And for some characters have one or more alternative form as well. Some of which are more 'ad hoc'- compositions drawn as we went when new ideas popped up. But others were specifically created to preserve and / -or include certain distinctive and unmistakably identifiable letterforms from Bayer's original Universal alphabet.

Greek & Cyrillic characters included in Fauxhaus were solely added for my personal experimentation purpose only, and they serve 'zero' function as to additional language support of the font.

"Use at your very own risk"— as these could very easily be gone the very next update.

Each letterform was meticulously composed from a random collection of the various memories, which after some thirty Bauhaus-inspired and / -or -revival works including their respective 'shared' research I have accumulated over time for Bauhaus typography like Bayer's work.
No source reference image was used as guidance for creating this FontStruction, everything came straight from the knowledge I gathered from the many previous Bauhaus related projects I did.
So to draw solely from memory alone somewhat a convincing and reasonably similar personal reinterpretation of an original 'Bauhaus' typeface at this stage has gotten pretty easy for me.

For this project in particular I've choosen to construct the letterforms on a medium sized grid, using the linear interpolation 'faux'-Bézier method. So beware that when using this font at very large point size rendering the remnants of this process will become visible!

That's all for now, I hope you like it so far,

Cheers

I've already gotten into another mess. Again a "2-in-1" font. It may work as is, but if you want to convert it to a script one you have to use some connectors between the letters, placed in the glyphs <, >, \, [, ], {, }. You must try each of them between two characters because there are many possible combinations. I add some samples down here. Don't worry and be patient, please, the result is worth it. Oh well, the actual "</>" glyphs are finally in the "©/™". To see all working, copy and paste the following sentence in the User Input window, please: Th>e q>u>i>c}k b[r{o[w[n f>o[x j{u]m]p\s o[v{e[r t]h>e l>a{zy d>o{g.

A font i have been working on for a while, but with some characters removed, because it seemed like it was not going to be finished in a while. I just wanted to publish this first

a rather narrow art deco font

a twenties-era art deco typewriter font with a glyph count in the twenties for the twenties competition

A twenties era font with the uppercase measuring twenty glyphs tall, the lowercase measuring five glyphs tall by four glyphs wide, to multiply out to twenty, and incorporating exactly twenty different glyphs to boot.

It was really quite fun seeing all of the ways to sneak the number twenty into this font for the competition. Please enjoy!

When Bauhaus met Art Deco

This is a tribute reworking of an experimental design of Rod Cavazos of PsyOps Type foundry. His Spanner font design from 1995 has always been a favorite of mine with its unexpected curves and serifs, making it similar to a Picasso portrait with letters. This fonstructivized version was a test to see if it would be possible to make an accurate reproduction. The answer was 'sort of.' 

CLICK ON THE “PIXEL” BUTTON TO MAKE IT LOOK, LIKE, A BAJILLION TIMES BETTER.

INTENDED LANGUAGE SUPPORT

• ENGLISH

• MĀORI

• SLOVENIAN

• RUSSIAN

THINGS THAT FONTSTRUCT NEEDS

• A DITHERING TOOL

• AN ELLIPSE TOOL

• RECTANGULAR-  AND ELLIPTICAL-OUTLINE TOOLS.

• A BUCKET FILL TOOL

• RULERS

• A SKEWABLE GRID

• A MASS KERNING FEATURE (OR EVEN AUTOMATIC KERNING, THAT’D BE NICE)

• SUPPORT FOR MULTIPLE FAMILIES WITHIN ONE FILE

• A TERMINAL FOR PROGRAMMING ALGORITHMS TO AUTOMATE REPETITIVE, PREDICTABLE ASPECTS, AND A WAY TO REFERENCE THE GRID SQUARES AS AN ARRAY OF SOME KIND

DON’T THINK THAT I’M SHOUTING ABOUT THIS. I JUST DON’T LIKE LOWER-CASE LETTERS!

STF_UNCIALIS MODULARIS - Modular geometric minuscule script typeface.

A font designed to look like neon light letters.