Thanks to Sed4tives for STF_FAUX BEZIER ROTUNDS

See more:

https://fontstruct.com/fontstructions/show/989729/fraktur_refined

Chrysalide Old Face | FontStruct

https://fontstruct.com/fontstructions/show/2629304/echo-pixel-garalde-cyrillic

Garamond Italic SP | FontStruct

fs Fermat | FontStruct

RuneScape Large | FontStruct

Part of the Stu font family, Stu Mid keeps all lowercases tucked within the x-height space. The character glyphs can be used interchangeably between the various Stu styles to achieve a more "bouncy" typesetting effect.

Stu pays homage to oldstyle numerals, where type designers vary the heights of numbers to resemble a line of running lowercase text. It seeks to address the question: "What if every lowercase alphabet also had varying heights?" The result is a font family with full-fledged ascenders ('Hi'), strictly x-heights ('Mid'), and only descenders ('Lo').

You can view the documentation of the Stu font family design here.

Various alternates in the capitals.

@ : ligatable S.

# : ligatable T.

$ : baseline-aligned f.

` : zero-width apostrophe.

LUCERNA — Neoclassical stencil serif

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Lucerna is a modern neoclassical stencil serif in the Didot style.

Simple & Elegant...

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Created primarily with the focus towards luxury fashion and marketing brand-oriented projects, aiming at luxurious and sophisticated design projects.

Although it’s a true and fully functional stencil, design focus wasn’t so much
concentrated around the 'functionality' part of the stencil concept. Instead it was more focussed on the stylish implementation of the concept and on making sure it looks pretty.

The stencil concept was achieved by way of stroke omissions. Some of which are large and drastic, leaving only critical parts of the stroke intact, while others are more subtle, like those detached crossbars or cuts seen in the hairlines.

Thin transitional bracketed serifs and a mixture of various sized teardrop- and pointy terminals, combined with the high stroke contrast, these make up for a sharp and interesting looking font that provokes this thoughtful stencil letter concept.

There is a lot of subtle dynamic height deviations going on, hoping to tune in to more of a lively rhythm, and introduce some playful characteristic properties.
Minute changes to optimize optical performance have also been implemented, such as overshoots. The relative low cap-height makes up for a somewhat short and stocky uppercase quality. Its accompanied by a relatively tall x-height that results in a fairly large lowercase size. Due to the lower cap-height of the font, the short ascenders parts of the lowercase letters still exceed above the Cap-Line, preserving some of that otherwise lost white space, improving legibility.

The design's missing segments and various random detached bits 'n pieces aren't as functional in smaller sizes. Making it harder to read or distinguish detached letter elements from puntuation marks. So it is best used for display purpose.
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A small number of glyph alternative forms are included as well:
 • 2 forms of lowercase letter a: Single-storey and double-storey (default).
 • 2 forms of upper- and lowercase letters Ss: Pointy terminals (default) and teardrop terminals.
 • 2 forms of upper- and lowercase letter Tt:  Uppercase letter T has two variations of pointy terminals, normal angled and extra angular. Lowercase letter t has alternative form with teardrop shaped terminal to use at the end of words, and can add a slightly more stylish look. The default version has better proportional width with just a small non-decorative curved terminal, this default form has smaller width for a improved horizontal text advance.
 • 4 forms for lowercase letter g: Just 3 additional extra slightly alternate forms.
 • 5 forms for lowercase letter f: Bracketed (default), curved, teardrop narrow, teardrop extra narrow, teardrop wide.
 • Extra set of Copyright symbols: Cap-height size and x-height size.
 • 5 forms of Pilcrow symbols: Just 4 additional extra alternate forms.
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It covers most basic Latin languages, 65 in total so far.
Several symbols and punctuation marks are included. (probably more later)

I hope you like it so far,

Cheers

Shazamurai! Opening day of Shazam! Fury of the Gods. Almost missed this one, but had an old lightning based font that matched. Plus, AI graphics is like soooo much cheating. WIP, couldn't decide on spacing so kerning had to wait. 

LITERA FACILIOR GOTI ― A 'Blackletter' script style with a twist
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Also known as Gothic script, Gothic Minuscule, or Textura, was a script used throughout Western Europe from approx. the 12th untill the 17th century.

This FontStruction was aimed at mimicing the aesthetic approach of a ― ‘Textura’ variant of the Gothic Minuscule script style, more accuratly refered to as ‘Littera Textualis’. This style is most characterized by its strong sturdy letterforms, with distinguishing sharp, straight and angular features as oposed to the other variations in this catagory.

In terms of authenticity to the original predecessing formal script family, my ‘Litera Facilior Goti’ didn't took a whole lot of care for authenticity. The idea was to take a more independent and experimental approach to shaping the letters and forms, so it wasn't necessarily inspired by any specific typeface in particular, it rather recycles certain characteristics of a ‘Textualis Quadrata’, but beyond those aspects of general guidelines it evolved on its own.

Some of the areas where the design tends to really stray away from the tradition is for example the serifs:

It's often that I have some trouble with the weight ratio distribution of serifs and such elements in simplified modular based geometric Blackletter fonts. In many of such designs they tend to have been left pretty static and equal in thickness throughout the full character set. Which I think is often either having some letters look clumsy or even weird, and generally speaking also often making them appear too thick.

So this was one of the things I had to try and adress, I experimented a little with the style and forms of the serifs. Eventually this resulted in multiple deviations in variety to mix and create a more dynamic distribution. similar to what was done in less formal scripts. Over time they became ever further simplified, letterforms that involved less reorientation of the pen, in pursuit of styles that were quicker to write.

But taken as a whole typeface I find that it is having this certain ‘random-ish’ characteristic that is simply working for the better of these particular style fonts.

I'm still working on improving its overall rhymes and reasons to a certain point that is acceptable, balanced and with enough consistency. But up to this stage I personally think that the concept worked out quite successfully so far. And that even despite the fact that its stripped down of most ornamental decorative calligraphic extravaganza, it still managed to capture a convincing portion of that ‘Medieval ’ looks and personal flavour.

But I think that in the end this became a pretty neat looking font and it would classify somewhere between a hybrid mix of simplified Blacklettering and a drunken man's ‘Textualis’.

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Cheers!

Pixel-rounded version of zhowfrakt. Another point of view, more "organic".

A display typeface (probably best viewed small, I'm aware!) based upon some physical type I made from dark food colouring etched into sugar syrup. This was to represent the brief theme I picked of 'unstable', hence why all the characters are completely induvidual in size and shape. I have also published a second version which displays what happens when the food colouring bled into the sugar syrup. 

Gothic inpired font for Unburied game with monospace digits