Initially inspired by SB Standard font (2013, Craig Staiton) with many modifications and recreated glyphs... And made to saving half the ink when you print your text with it, which is very important in today's times, you know :))

16 Years??? Of Fontstruct? Really?

Has it really been so long? I feel old...(it's still fun tho)

This had the numberscomp tag on it at some stage, so still shows the numerals first in the gallery pages. I wasn't happy to share it until now however. I used a combination of connected and custom made bricks. Alternate a and e in lower case.

The NUMBERS were the origin: This font has been created from the design of glyphs 0, 2 and 4, which was then extrapolated to the rest of the characters. Unicase with alternates. Thanks @AidenFont for the vertical stripes idea.

FRUNTSTOCT UPPER — FontStruct logotype uppercase reinvention
═══════════════════════════════════

This second font is the next evolution in my take on the Fontstruct logo type.

Its an experimental approach towards the reinvention of its uppercase letters. The first one was a unicase minuscule that was aimed at creating an improved version of the original logo lettering concept. FRUNTSTOCT LOWERremained faithful to the original letters, whereas FRUNTSTOCT UPPER is a complete reimagining.

Motivation behind the complete overhaul came after checking out existing Structurosa entries by other Fontstruct members.

It became evident that only one or two members truly were able to build upon its original concept and could come up with a 'unique' and decent majuscule.

AT Archistruct Outline by Kassymkulov (aka Architaraz) being the clear winner in my opinion. — Which is a true masterpiece !!
Some others 'tried' to be original, and made an attempt at a personalized lettering, but couldn't solidify ideas into a consistent whole. But the majority simply copied rob's original design.

— For that reason I choose to take the alternative road and tried to come up with something new.

I hope you like it..

Cheers

Some alternates in lower case and filled counter glyphs also included.

FRUNTSTOCT — FontStruct logotype reinterpretation
═══════════════════════════════════
For all ya failed attempts at re-creating the FontStruct logo typeface.

Many have tried their take on it, most without convincing succes, and often looking downright horrible.
Two of the most commonly made mistakes are..  1) The introduction of a uppercase alphabet  2) Having a tendency for including far too many stuff in terms of extended language and typographic support, aiming for large multi-lingual character-sets with as many glyphs possible.

The lettering for the FS-logotype has this very distinctive modular geometric stencil concept. The underlying glyph structure consists of 5 horizontal rectangular segments, that together with a custom set of simple geometric blocks form a modular system that can be easily re-modeled or re-arranged to form the different letters and required parts that help to distinguish each individual letter from one another.
The modular system itself is highly simplified and easily accessible to implement additional changes. But typically speaking a simplified modular system comes at a price. And the further a system was simplified, the greater the amount of limitations will be. Which literally translates to a reduction in overall design depth and freedom to implement a more diverse complexity.

—TECHNICAL SPECS:
[Dimensions]               Segments
X-Height             —     3
Cap-Height         —     4
Ascender             —     1
Descender           —     1

[Filters]                            Value
Horizontal Brick Size    —    2
Vertical Brick Size         —    1.8
Horizontal Grid Scale    —    0.9
Vertical Grid Scale         —    1

In case of this FS-logotype concept, there are a number of key components that put in place this very strict window of parameter-locked propperties, that exclude all but a few remaining options which could still be exploited, and therefor fully dictate whatever is, or is not possible.
Having only 5 segments, limited geometric components and highly restrictive rearrangeable capabilities towards implementing variation all adding up to the difficulty-level for extrapolating some of its more complex and- / or denser forms, symbols accents and puntuation marks.

To cramp excessive amounts of complexity into a very narrow band of realestate would have a certain negative wear on its aesthetic qualities. And is likely to result in a combination of messy glyph composites and queer-looking letter-inventions, contrapped in a mish-mash of irregular and gawky looking, at times even disfiguring geometry that sit at the heart of this problem.

This is exactly where those bad choices can either make or break your font. The modular system for FS's lettering clearly isn't the most suitable of fonts for uppercase forms and complex geometry.

This doesn't mean that it is impossible, as was demonstrated by a small number of re-interpretations that actually do include fairly decent uppercase inventions. One of such that have successfully pulled off the inclusion of a uppercase set for his rework of the logo typeface was Zhalgas Kassymkulov—previously known as architaraz.

His attempt is a beautiful display of craftmanship and clever simplicity.

Here is a list of attempts that I think are successful re-interpretations of the original FontStruct logo:

Structurosa Italic — by four
AT Archistruct Outline — by kassymkulov
Structurosa— by pauldhunt
FS Logotype — by WeDoFonts
pixelstructia — by gamesgames
fs Colophon — by user-juli
fs sanstruct — by ETHproductions
Realised — by thezenmaster1000
Structurosa Bold — by pauldhunt
FontStrukt 2 Soft — by Jamie Place (FontBlast)
Structurosa Bold Too — by pauldhunt
 

— WHUTZINSIDE THIS FRUNTSTOCTION?
Now, a extensive explanation for the decision to not include uppercase forms to the font, as well as for the constraint on total character amount had been broadly covered above. I think that small caps numeral figures make a much more sleek looking glyph, and tying the overall character set much more together as a whole.

Another, and I say, rather more unique feature found in my version of the lettering is only a subtle one in fact. One that mostly works invisibly, that without the awareness of the reader, is easily missed. And can only truly visually materialize and appreciated seen up close. This is the implementation of several slight deviations and custom sculpting of certain curvatures and round features. Introducing an ever so slightly more diverse dynamic, but also taps deeper into some of that shape contrast propperties.

In addition to that I've also included several glyph alternative forms and small number of ligatures to play around with.
among these glyph alternates there is also this continuous string of 13 rather experimental looking glyph variations for the lowercase letter 's'.
These aren't actually meant to be usable characters, but instead is a collage of different configurations that make various curved geometry, and are simply stored in a glyph-style fashion that provides an actual physical estimation on their appearence and for me to test their functional values in a text format.

So far so good,
I am happy with how the font turned out to be, it is fairly consistent looking and still remains quite usable as a font.

That's all for now folks...

Cheers.

putting a spin on an art deco sample found in an old typeface book. had some fun fitting that paper sample to the parameters used personally when making these little uniform fonts~

Uppercase font with some alternates in the lowercase zone. You can find an extra third "S" in the "t" glyph. See also zhellbar, the solid colour version.

Hey everyone :)

Kern Cyrillic, WIP.

Work in progress.

Inspired by sound graphic interfaces and speakers. Full latin support

Day Five. A spin off of Sinaloa. Very I Love the 70's.

Inspired by Zonatta by Elmoyenique.