this is what happens when you strip the Latin alphabet down to its bare-bone shapes

A recreation of the font in the logo of the record label, Skam. It might seem like gibberish, but if you look closely the you could tell what it’s saying.

An abstract, futuristic/space-age monospace font

I created this 98-glyphs font specifically for 4x3 pixel (the smallest possible?) writing in GB Studio for Game Boy games. It also works well for pixel art and a general retro look. It can be used with Aseprite, Libresprite, Photoshop, Photopea, and other apps.

Attribution and donations are highly appreciated.

Just unzip the .ZIP file and double-click to install the .TTF file.

Experimental font based on the minimalist numbers from the YouTube Contemporary Premiere Coutdown timer

TYPOGRAAF — Geometric modernist display typeface

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Typograaf is simple looking modernist style aimed for display use. It doesn't work well in a long line if text nor at smaller sizes. But perfect for large display work, logo's and such. The letterforms have several little nuances and multiple custom crafted curved parts with smooth (near) real Bézier contour quality.

So far only general concept plus some extra's was created, no multilingual suport for now.

Let me know what you think

Cheers

THANks FontStruct FOR A COOL GAME

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

BLAUHAUS (Plus) - 'Bauhaus'-inspired design

This is the 'Pro' version in the BLAUHAUS family, and instead to the first version this includes a full uppercase set as well. The glyph alternatives that previously occupied the (Uc) string has been relocated to the "Halfwidth and Fullwidth Forms" Unicode block.

In addition to that a whole bunch of extra glyph alernatives, numerous symbols, dingbats, arrows and other elements are included as well.

I do realize it is far from perfect, but since it was designed on a very tiny grid and without filters, a whole lot of available realestate to house bricks wasn't a luxury for this project.

Nonetheless I've tried to put in plenty of diversity, and I think the underlying constraining effect as result of the limitations from not utilizing 'brick size'-filters works out just fine in preserving a certain degree of minimalism.

5/8 weight, no filters and only 4/8 nudging within FS-editor posed another dificulty, but despite all these challenges it was a very fun project to puzzle with...

I hope y'all like it..

Cheers

MAUHAUS  ―  Feline inspired type design

[ THE CREATIVE PROCESS ] ━━━━━━━━━━━━━━━

This font was made because I have a cat. I love my cat, and this delight of a friend obviously loves me back. In addition to all this love, I also love to craft fonts, my cat is not to very fond about this.. So she loves to craft all sort of drama to gain my attention. Wearing me down with her mere persistence. I'm not to very fond about this.. So I slab her in the tiny face and modulate the crap out of her, stressing that nifty lil' stalker-happy pleb untill she gets a stroke. Than I make gashing incisions to all her intersects, making a pet-stencil.

No cats were harmed while making this font, this is just how we roll.

And one might wonder what a apple is doing inside a cat-font?? I know, but dont worry, the cat isn't a vegi...

― Lena say's 'Mauwww..' to all fellow FontStructors

[ FINAL WORDS ] ━━━━━━━━━━━━━━━━━━━

I guess that didn't clarify the ins and outs of this design, thats too bad !!

All I can say is that this is once again another concept following in the footsteps of the 'Bauhaus'-minimalism style and philosophy. Since I was not done yet with this whole raging Bauhaus frenzy..

― Lena hopes that nobody likes this font so far...

Meow

back here just to ask if this thing already existed btw hi everyone 

inspired in zilap minimalist

Tired of the traditional helvetica being used as the "minimalist font"? Well do I have news for you!

This font is so minimalist, that it's barely legibale to normal people! I'm sure ya'll can have a blast embracing the simple life while giving your coworkers a migraine at the same time!

Try "Extreme Minimalisim" today!

Only 9 cells were allowed to be used in the design of Nine Cell, which might be the least amount of information a character set can have and still be functional. Everything had to fit within the 3x3 grid

U, V, T, and 7 maybe changed at some point

Very very Minimalist font made out of only 8 bricks.

Letters are composed of only 4 bricks

Comments and Suggestions are welcome!

A rounded and futuristic display font

Basic⁴ is a mostly 4 pixel long font with over 850 caracthers (including latin, cyrilic etc.) and keep growing over time.
11/21 : Nearly finished « Extended Latin B »

A modern minimalist font.

Subtract is a minimalist typeface, reducing detail to the simplest legible form of each character, using a fluid mix of curved and linear forms for an aesthetic that is refined, uncluttered, precise and stylish.

Elegance in typeface design is usually associated with decorative, scriptive or serif fonts. Subtract takes away from the basic letterform rather than adding.

I was doing kerning and all that and I've got so lazy about it, but i love the style of this thing so i decided

f*ck it, enjoy :D

A minimalist fraktur, broken down to the bare minimum of penstrokes. Based on the later more rounded typefaces with fewer distinct pen movements. Made for practicing calligraphy rather than æsthetics, especially w.r.t. lowercase letters. This schematic breakdown makes for easier learning of stroke-order and movements.