SANS SERIFSCO — Humanist / Neo-Grotesque Sans-Serif
A contemporary neo-grotesque sans-serif design with regular weight.
I tried to add subtle diverse and nuanced visual elegance while still remaining minimalistic. Most significant feature is the subtle stroke modulations, distinguishing this from a more geometric style.
Designed to be versatile and suitable for a wide range of different purposes and optimized for legibility in small point size body copy.
The font was constructed on a large grid using linear interpolation (also known as faux-Bézier method). This allowed the most freedom for constructing more complex custom forms, curvatures and all the various stroke modulations.
The font has a total vertical height of 88 square grid units, this is including all optical compensations, ascends / descends and accents.
A unique stretch font that is quirky and weird!
MADE WITH 2X2 FILTER
GROOTESK ― Contemporary geometric grotesque
A contemporary geometric grotesque with tons of extra features such as glyph alternatives and ligatures
It comes as a bold weight typeface, in only one style, but there went some serious time in optimization and additional testing. Therefor the font is super well mastered and extremely versatile.
Its far from just another display design, or your next average basic geometric sans. From a distance this indeed appears basic, but also a very clear and legible letter.
Getting a more close-up view of many glyph would actually reveal a very complex in both form and function. Tons of custom shaping, smoothening, transitions, rounds, and just overall care for detail that went into every bit.
There is no question whether this could hand out "a 'one-punch' K.O." of a Headliner, thats obvious.
But this unyielding bumpy behemoth just as well takes u for the long run, effortlessly telling you fascinating stories.
It was especially well cared for and optimized to do so on a computer display device, to deliver simple yet versatile seemless digital typeset material.
See the provided sample images bellow for more detailed info on its various features.
I hope you like it so far!This is a clone
A pixelated font heavily inspired by the Lucida Font Family and the Nintendo Gamecube notification text font.
The Regular version of Debit
Debit font family:
RINKEL — Bold constructivist display design
This was very much influenced by the rare sighting of
1974's Lettergraphics International typeface by the name 'Belden'
Belden was shown in a Lettergraphics ad in U&lc vol. 1, no. 3 from 1974, without further design credits. It was also featured in the book cover design for "Metaphysics: An Introduction" by Keith Campbell.
—Which in terms I have used for my personal extrapolation of the complete character set of this FontStruction.
Not a digitizing revival of the original piece, but rather a very strongly inspired personal take on it.
—More complete character set is coming soon..
Let me know what u fellow structivists think of it so far!
INNERCITY — Geometric future retro display grotesque
Geometric unicase display sans with a stylistic filled counter-like (Uc) set and monolinear 'bare-boned' geometric grotesque (Lc) set.
— Full alphanumeric dual-variant font !!
Elmoyenique's "zenzura" (a very stylish work in it's own right, make sure to check that one as well) anyway,
His 'zenzura' font kind of struck me with a healthy fresh dose of motivation. In the past I've explored somewhat similar style designs, but none of those ever really got consolidated into the extensive and complete work Elmo delivered with his stunning zenzura.
So I decided to dig up one of my older such projects and see if this new motivational boost could turn 'half'-a-font into a complete piece.
Long story short, this update is the result of that venture.
Where previously this project came in just one style (filled counters), with no additional glyph alternates. Basically a complete absense of the lowercase-string all together, and only very limited complementary set of symbols and punctuation marks were present. Neither did the previous version had a great deal of refinement in terms of metrics / kerning and overall horizontal distribution of type-set material. So, it was nothing more than a plain doodle of the idea I had back then, that had to be preserved for a later stage.
But being drawn into more recent projects at the time I eventually ren dry on motivation to fully finalize this I ended up publishing it in its rough state.
ABOUT THE UPDATE:
The'bare-boned' lowercase is a somewhat futuristic geometric looking form, whereas the filled uppercase set has a strong retro vibe.
Combined in 'mixed-case' it can make a cool optional decorative style capitalization for your text. Used in isolation the two styles (Uc, Lc) both could be used as two seporate fonts, allowing stylistic text hierarchy.
In addition to the stylish retro-like, and partially filled forms I included a glyph-alternative set that strips the letterforms down to their monolinear core-geometric essence.
The design of this set is characterized by the spacious, sharp and clear appearance, that looks slightly futuristic but fashionable still.
With this new addition being the more legible and clean form of the two style sets, I placed this variation into the lowercase-string, making this the default-style for the font.
For the numerals, symbols and punctuations, I tried to remain committed to the stylish filled nature of the uppercase set.
A full alternative monolinear and 'bare-boned' numeral counterpart is located in the 'Full Width' Unicode block. Two extra weight variations for the brackets are also included for a more precise personal preference..
— And so it finally could respectably considered being a full font after all.
Thats all folks.. Enjoy !
cheersThis is a clone
A retro-styled font inspired by Art Deco and classic computer fonts. Looks like something you'd see in a video game from the 1980's that's set in the 1920's. Includes over 1000 glyphs from Latin and non-Latin alphabets. Best for decoration and titles.
Credit appreciated but not required.
The Greek and Rotokas version of FS VETICA. ΗεινετιςαThis is a clone of fs vetica
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...
This is an (*All Rights Reserved*) font. Do not talk about any license changes FOR DOWNLOAD OF THIS FONT. If you want to use this font for a specific product, you may tell me.
Pixel aspect: 4:5 (1:1.25)
Found in some Acer, Hewlett-Packard, and Lenovo laptops that uses an InsydeH2O BIOS.
The sequel to Judy Loopy--- the full Stylo Sans, Cloneable - However! Make Update Samples!This is a clone of Stylo Sans
BOUWHUIS - 'Bauhaus'-modernism inspired minimalist geometric sans
I am in a Bauhaus-vibe last couple of day..
So here is yet another venture into the
modernist minimalism aesthetics of the previous century.
This Font losely draws on the basic concept for the 'Universal Type' that was originally designed by Bauhaus student Herbert Bayer.
It's basically a hugely inspired tribute to Herbert Bayer's several forms of ―'Universal'.
But I want to be clear on the fact that this isn't a revival of the original alphabet or anything along those lines for that matter.
Instead it is a intermingling personal interpretation of his multiple works and ideas. Attempting to merge this recollection of Bayer's rational 'functionalist'-approach towards combining aesthetics and function, as by which he is answering to the 'Bauhaus'-philosophy and the 'Form follows function'― design principle.
But besides being a 'inspired' recollection, still the main focus for this FontStruction was to come up with this personalized and stylistic derivative version that pays homage to various of his original work. Unifying the various characteristic Bayer idea's-n-bits within my personal visual representation of the general concept into a new piece.
For it's primary style-concept I envisioned BOUWHUIS being something fresh and somewhat different from the gross majority of similar inspired works out there. This led to the decision for going with a more contemporary and modernized (― as oposed to modernist) style lettering.
In addition to that I pursued a much more vibrant and nuanced typographers sensitivity towards letterform calligraphy and decorative features.
Strong geometric core elements of the font make up for a expressive simplistic structural basic form and it has 'zero' stroke modulation for thickness.
It's regular weight combined with that predominant circular and square-based geometry of the letterforms result in this 'open', and overall ventilated characteristic of the design.
The typical crude appearance that usually comes with a strong geometric sans like this was compensated for in BOUWHUIS by the design's subtle deviations in form and the various decorative calligraphic letter-components.
Something that completely denied Bayer's principle in approach to modern typography and to create an "idealist typeface" was; The reintroduction of it's uppercase letters.
Part of Bayer's rationale was to simplify typesetting, strip all that he felt was unnecessary or the typeface had no need for in order to function, till there was not much more left than just the nearly bare-naked form.
It seems that unintentionally some innuendo of Art-Deco―flavoured hints also found their way into parts of this design.... ―Hmmmz
― but I think I like them, so no worries on behalf of that
As a little bonus topping it all off there is also a super tiny experimental lowercase caracter-set (X-Height=1 grid unit)
Located in the Unicode block for "Halfwidth and fullwidth forms"
I hope y'all like it so far, more will follow soon.
With the given theme of Protection, I looked into the human immune system and the biological human features. Researching further into antibodies, I created a type face of the antibody structure which resembles the shape of a capital Y. Following symmetrical shapes and doubled lines, I created an alphabet that mimics the original structure of antibodies, with similar joints and angles.