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Why you can read this? Этот шрифт исследует как орнаментальную состовляющую шрифта, так и рукописную, составляющую из отдельных штрихов целую букву. Эти структуры могут лечь в основу других, более сложных или простых шрифтов.
https://fontstruct.com/fontstructions/show/1339192/zykowarfare-eye-fs
https://www.fontstruct.com/fontstructions/show/65983/minima_4
https://www.fontstruct.com/fontstructions/show/1562147/stf-hyster
https://fontstruct.com/fontstructions/show/930129/patchwork_4
https://fontstruct.com/fontstructions/show/1282518/floriitutaak48
A playful stencil-type font that's best used for a headline or small amount of type. I'm not happy with some of the letters like the K and the R and they will need to be tweaked. This is a work in progress.
This is a cloneALTERNATIVES CAN BE FOUND IN THE LOWER CASE TO CHANGE THE NOISE DISTRIBUTION.
I WASN’T REALLY THINKING ABOUT THE CYRILLIC ALPHABET WHEN I DESIGNED IT, SO THE LETTERS: “А” AND “Л” AND “Н” AND “П” ARE THE SAME.
See more:
https://www.fontstruct.com/fontstructions/show/1690797/subtract-2
https://www.fontstruct.com/fontstructions/show/1501515/dx-minima
https://www.fontstruct.com/fontstructions/show/539435/mnml_round_1
https://www.fontstruct.com/fontstructions/show/1420509/flexunda
https://fontstruct.com/fontstructions/show/458391/xe_cirpint
https://fontstruct.com/fontstructions/show/458383/xe_future_minimalist_bold
https://fontstruct.com/fontstructions/show/490446/xe_inktrap
https://www.fontstruct.com/fontstructions/show/425351/gibberish_12
https://www.fontstruct.com/fontstructions/show/495721/fs_plus_h
https://www.fontstruct.com/fontstructions/show/769007/teka_1
https://www.fontstruct.com/fontstructions/show/680450/discolyde
https://www.fontstruct.com/fontstructions/show/1165292/teka_exact
https://www.fontstruct.com/fontstructions/show/1554713/adobo
https://www.fontstruct.com/fontstructions/show/521305/orbis_1
https://www.fontstruct.com/fontstructions/show/1577865/stf-sigma
https://www.fontstruct.com/fontstructions/show/1463535/high-6
https://www.fontstruct.com/fontstructions/show/1592227/spacerock-classic-ii-caps-numbers
https://fontstruct.com/fontstructions/show/717136/hypetron
https://fontstruct.com/fontstructions/show/2209405/funky-socks
See more:
https://fontstruct.com/fontstructions/show/361689/tangs
https://www.fontstruct.com/fontstructions/show/1634096/prickly-pear-2-1
https://www.fontstruct.com/fontstructions/show/134355/arko
https://www.fontstruct.com/fontstructions/show/68838/offcuts
Experimenting with a new letter concept. This is not the final concept of course, but I developed this along the way, so I kept it.
For best results, use upper and lower case on seperate layers, then merge them together.
STANDAARD PROFIELEN ― Digital revival/extrapolation of a logotype originally designed by "Jurriaan Schrofer"
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Jurriaan's original work is a logotype style lettering for a corporate identity brochure, that he designed for one of his clients, a Dutch timber trading company called: "Houthandel Rote - Westzaan N.V."
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Schrofer's original work featured the plain black text "standaard profielen" and was written in all lowercase letters. (source image bellow)
As far as I know this were the only characters he designed for this specific project.
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It's a very simple grid based modular brick type lettering. Only two bricks were used to create each individual letterform. So they have a profound and inevitably dictating resonance to the visual appearance of the letterforms, a visual presence that I could not stray away from too far.
This stylistical design parameter made it somewhat extra tricky for the successfully faithful extrapolation of the remaining missing glyphs, turning it into a complete glyph-set and basic usable font. The source also remains pretty unclear on how Jurriaan would've designed characters with crossing strokes, such as Kk / Xx.
The original corner brick works well with just this small character set in the source, but the rectangular outside part of this brick fills a substantial surface area, (over 3/4th of a brick in total), resulting in bleeding-like contrast issues. So, having mostly undesirable effects in brick-congested areas or with intersecting strokes.
An additional beveled corner brick was added to address most of this issue.
All 'n all, for this reason I just captured its basic lowercase letterforms, numerals and only the bare essential punctuation marks for making it functional are included for now, no accents !
Cheers!
Asymmetrical alien techno stencil.
This uses some experimental techniques, of course, but I'm not sure how to concisely explain those. Let's just say that each type of line bend and line connection has a rule associated with it. These get naturally modified by the structural asymmetry the font has so that simple rules appear in many forms and variations.
By request, an abstract, condensed, and slightly futuristic thinliner stencil.
This is similar to a fusion of "Migrator" and "Aegris Outline".
The metrics for this one are not finalized yet. Various versions of this are being tried out, and the feedback will affect how this font changes. (Presently, the overall spacing is a bit wider than the internal spacing of glyphs like “”).
What suposed to be a revival of the "1957 Stedelijk Van Abbemuseum, Eindhoven Brabant" poster, original work by Wim Crouwel, actually failed terribly since I never peeked at the original while I made this (thought i had it well preserved in my memory, but seems I did not).
Nonetheless It isn't a bad font I guess, so...
Enjoy!