See more:

https://fontstruct.com/fontstructions/show/2344057/touchdown-wip

https://fontstruct.com/fontstructions/show/29720/konstruct_1

https://fontstruct.com/fontstructions/show/1653608/nardo-1

(Avensis is derived from the French verb 'advancer', meaning 'to advance'.)

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 far yet, and some may never will..

For now only Basic Latin letters, it remains a WIP

I hope you like it so far,

Cheers

BUISJES — Geometric outlined sans-serif design
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[ INTRODUCTION ]

While at first I was just updating one of my custom brick tool sets with some additional new pre-build custom composite bricks which seemlessly fit and allign with the dimensions of FontStruct's default connection brick set, the font more or less materialized as this happy accident while I was fooling around and constructed several basic letterforms and shapes for testing these composite brick solutions I was making.

Before realizing it I had about half-a-alphabet's worth of random letter doodles. From there on out I simply decided to copy the letters that came from this test run and drop them into a new FontStruct project and just resumed building the remainder of what would later become this rather modernist clean looking geometric outline sans.

Now, keep in mind that working with the constraints of these (largely 'Composite'-like) and somewhat oddball physically natured 'Connection'-bricks is very limited, and can be quite tricky. They simply doesn't allow the same level of design freedom FS's 'Core'-bricks do (E.g. the centre allignement, their thickness and that 30-bricks-only limited palette size for each of the three variations). To acquire some of that more distinctive and specific tailor made geometry usually requires clever brick arrangements that consist from a mixture of both multi-stacked-composites and brick overlaps to patch gaps and smoothen curve contours.

This process can sometimes become very 'trial / error' -based and unpredictable when complexity increases. Distracting at times, as it gets in the way of primary objectives. To constantly having to invent different new solutions that work simply doesn't help creative workflow. Therefor I decided to dive a little deeper into expanding my pre-fabricated'ready-to-use' composite brick palette.

[ ANALYTICS ]

So far I'm very pleased with the final result, especially with how easy this new set of custom brick composites turn out to create new letters. The bricks feel very intuitive to work with, and unlock quick access to greater sophistication and shaping of more complex geometry. Opening up several new possibilities that are impossible to construct solely from the default 'Connection' -brick palette. So having them at my disposal in a pre-fab fashion is certainly gonna help streamline the workflow.

[ THE FONT ]

As far as for the font's aesthetica, there isn't all that much spectacular going on really. The basic geometry provides a rigid solid looking lettering that produces this fairly legible text. The modern yet clean characteristics making it the perfect match for a broad range application.

 • Multi-Lingual (105 languages supported)
 • Some glyph alternate forms
 • Kerning (1922 stored pairs)

The font name refers to its tubular characteristics and comes from the Dutch word Buizen, which literally translate to Tubes in English.

I hope you like it,

Cheers

JS-PTT 1975 (OUTLINE) ― Geometric modular typeface system
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Another font addition to the ever evolving and growing collection of revivals and inspired works called LETTERS OP MAAT, a project celebrating and trying to recreate the typographic contributions originally designed by Dutch graphic designer Jurriaan Schrofer. This time I did sort of a revision / recap based on Schrofer's 1975 trichromatic sketches he did for the PTT (TD) the technical department of the Dutch State Company of Post, Telegraphy and Telephony (PTT) that featured a style variation to one of his alphabet systems.

PTT 1975 is a typeface family of three font styles called (SOLID), (INLINE) and (OUTLINE), that seemlessly overlap for combined multi-layer capabilities. Allowing easy multicolor replication similar to the original sketches and more, but also to provide three different isolated forms for individual use as separate fonts.

Now, without diving too deep into the man's biographic profile I do want to point out the following; ―Despite the unprecedented amount his typographic brilliance has contributed, he remains relatively unknown, but certainly no stranger among real typ-o-philes. Schrofer was light years ahead of its time. The level of crafmenship he put into his work was often overshadowed by his mind-blowing experimental, at times even bizarre and psychedelic typographic approach on letterforms, and can easily make one not truly realize the amount of expertise and skill often on display. Therefor he probably remains best known for his extravagant endeavours in book design.

Between 1973-1979 Schrofer worked on a assignement for the Dutch client called PTT (TD) this was during his time with Total Design. For the PTT (TD) Schrofer worked on a big multi project assignement he himself cataloged "Bewegwijzering Girokantoren". This essentially was the design of multiple visual identities for floorplans of 3 office buildings owned by the company. The project gave birth to several new style variation for several of his alphabet systems, one of those was this variation that introduced the rounded corners to some of the letterforms.

This particular recap was based on a alphabet system seen in numerous of sketches Schrofer designed in 1975 for the Dutch ministry of welfare, public health and culture (WVC) department for aesthetic design with the PTT. Part of the technical service at the PTT, responsible for the visual logistics of the company. The PTT, at the time a state-owned multi-utility company providing countless services. All the letters originally provided in Schrofer's sketches are included, I designed all the missing letters plus a couple of alernatives following the original's design parameters. In addition to that I designed and included numerals and some symbols and punctuation marks as well.

During my studies of Schrofer's work I noticed that various alphabet systems reappeared in many of his works. Further research showed that throughout his carreer he seemed to have developed and pre-fabricated multiple alphabet systems, variations and concepts that he constantly reused, refurbished, and recycled over the course of his carreer. Therefor it can be difficult to pin point the exact origins for some of his lettering concepts. Which is something I learned along the way and did not really anticipated for when I innitially started this LETTERS OP MAAT project, so some of my ealier fonts for this project haven't exactly all been properly researched.

For example the lettering concept seen in one of his designs for the PTT (TD) had already appeared two years prior of this PTT materials, when it was used in the 1973 brochure called Grafiek Per Postbode for Galerie 33. This brochure shows the same alphabet system that he later reuses for one of the PTT office builing floorplan designs. The brochure features an outlined variation of that same alphabet system for the text Heading, and a rounded mono-linear variation to this same alphabet system for the Subheading. This mono-linear variation itself had been used in the work for The Beurs van Berlage (Foundation) as well [IMAGE], the Beurs Van Berlage is a Dutch commodity market building located in the centre of Amsterdam. It later then got digitalized for implimentation in the Dutch passport, and was acompanied by several additional derivative styles to this mono-linear version of (you can probably guess it) that same alphabet system, including a 5x7 Dot Matrix. Schrofer's design concept for the Dutch passport eventually never got used. And there were several other reapearances of the alphabet with several clients throughout his carreer.

I know it once again is a lot of info to digest, but I want to portray a proper image of the whole story that involves this project as well as it's font contribtions, so I can't help myself here, lol. But I'm pretty certain there are people out there that can appreciate this informative background, so I hope y'all didn't mind it too much.

The full font family could be found here: STF_PTT 1975

Interrested in more of my Jurriaan Schrofer inspired fonts? Please take a look a my complete collection of Fontstructions tagged with STF-LETTERS OP MAAT for the full catalog of fonts I contributed to this project so far.

Cheers

a more elegant, borderline art nouveau/neon art deco

Caps-only font, with M, N, S and U alternates on the lowercase. Also you can find an extra "c" at the "¢" glyph. (Surfing again the FS waves without curvy bricks.)

another soft deco font

Work in progress! :)

Broadwaif. Because it looks similar to the Broadway 1920s font, and because its a waif - being neglected, abandoned, and uncared for. Now I'm sad.

Art-deco style font developed from the letter s (which wasn't that easy to make).

Oh yeah! it's finally completed.

An inline serif...

Serif on the inside, sans on the outside, sort of two in one.

Bals is Slab backwards. 

we are the illest

A wicked track-looking font with every letter at least has a 180-degree-flip pair. Perfect for ambigram.

" ( " for left line cap

" ) " for right line cap

"space" for extending the line 

Themysciran. Home of Amazonian Princess Diana, aka Wonder Woman. Of course it’s the opening day of the movie about her origin story. Gal Gadot makes the worthiest successor to the TV version with Lynda Carter since 1979. This font is based off of the Wonder Woman logo from DC Comics.