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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!
Clone of Tirrel (by Doug Peters). Copyright 2019 Doug Peters.
This version has the 'soft' alternates. These are the lowercase characters in 'Tirrel'. The idea is that if someone is used to using the shift key and only wants the softer style of the font, they can use this version and they will only get all the caps versions of Tirrel whether they use shift or caps lock (or not).
Categories: Monospaced Sans/Stencil.
Types: White Space, Striped, Display Caps, Logotype, & Novelty.
Weight: Bold.
Web font: Yeah, sure.
Commercial use: Yes.
Derivatives: No.
Redistribution: No.
https://www.Doug-Peters.com
https://Dougs.Work
https://SymbioticDesign.com
https://Worthful.com
https://Font-Journal.com
My best Domain Name registration service:
https://www.DomainHostmaster.com
My best web hosting solution:
https://HDWebHosting.com
PayPal donations (to encourage my continued design efforts):
https://paypal.me/sitedesigner
Clone of Tirrel (by Doug Peters). Copyright 2019 Doug Peters.
This version has the 'hard' alternates. These are the caps in 'Tirrel'. The idea is that if someone is used to using the shift key and only wants the harder style of the font, they can use this version and they will get all the caps versions of Tirrel whether they use shift or caps lock (or not).
Categories: Monospaced Sans/Stencil.
Types: White Space, Striped, Display Caps, Logotype, & Novelty.
Weight: Heavy Bold.
Web font: Yeah, sure.
Commercial use: Yes.
Derivatives: No.
Redistribution: No.
https://www.Doug-Peters.com
https://Dougs.Work
https://SymbioticDesign.com
https://Worthful.com
https://Font-Journal.com
My best Domain Name registration service:
https://www.DomainHostmaster.com
My best web hosting solution:
https://HDWebHosting.com
PayPal donations (to encourage my continued design efforts):
https://paypal.me/sitedesigner
Tirrel font is Copyright 2019 Doug Peters.
This is the original version of Tirrel. Although a display caps font, the uppercase has a hard, bold, brash version of capitals while the lowercase holds the 'softer' alternates with more defined characters. If you only want one or the other and have the habit of using shift (or caps lock), there should be two other versions of this font accompanying it, one "Tirrel Hard" and the other Tirrel Soft" to relieve frustration of those who type well.
Categories: Monospaced Sans/Stencil.
Types: White Space, Striped, Display Caps, Logotype, & Novelty.
Weight: Heavy Bold.
Web font: Yeah, sure.
Commercial use: Yes.
Derivatives: No.
Redistribution: No.
https://www.Doug-Peters.com
https://Dougs.Work
https://SymbioticDesign.com
https://Worthful.com
https://Font-Journal.com
My best Domain Name registration service:
https://www.DomainHostmaster.com
My best web hosting solution:
https://HDWebHosting.com
PayPal donations (to encourage my continued design efforts):
https://paypal.me/sitedesigner
Here is my take on Scaffo Stencil.
This is a clone of Scaffo StencilThe original Scaffo Stencil - the plain version.
Swapping between the two produces an interesting effect which I'd like to explore more.
This is a clone of Scaffo StencilA skeletal design related to Candylander, Nyandotte, Straplander, etc. This one works as a stencil and reminds me of dazzle camouflage! There's also a plain version of this which looks much neater and less harsh, but I like this one more.
By request, a "waffle stencil".
This is an E6x6 broken into nine 2x2 fields. The larger and the more precisely cut it is, the more readable it becomes!
Experimental sliced sans serif. My goal here was to make a design which would result in an extremely compact and durable physical stencil. Almost all of the sharp points and acute angles are within the negative space, so it should be easy and very safe to make, handle and work with this stencil.
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Version History
1.3 - added More Latin and Google Fonts Basic bands.
1.2 - added uppercase, changed name to "Aegris Stencil".
1.1 - edited for more readability at small size. Glyphs with enclosed loops were altered so that the "movement" of the segments always runs clockwise.
1.0 - released.
Trying this style out. The name comes from a monster in the game NetHack.
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See also:Gridlarva
The current month seems to hold a meaning of threads: of fog, dew covered spiders' webs, barely-there things, feint perceptions defying scientific understanding and fine links with ancestors, to keep us in the present and enable open minds and caring souls to better the future. This abstract interpretation of Halloween has been designed to echo the traditionally mysterious mood to show the past (known glyphs, earlier FS bricks) linked in the present (on paper, in the FS previews, and using some of Meek's newest bricks I experiment with in this design) to create future (text will carry meaning to the reader, diversity of thought not experienced until after every glyph is finished, and beauty of text flow is visible only after it has been written). Totally within my personal plan for Night Pegasus' work: adventurous, alternative, divergent, different, exploring, experimental, unusual -- after all, the flying horse is free to visit any time any item or existence in this universe and any place in Fontstruct, to discover and weigh possibilities, to create its future from the past in it's present body and mind, and it does this cloaked in black as deepest night, undiscovered unless someone has their feelers tuned into mystery and taps into experiences of presence.
:.:.:.: Information to help you when using this font :.:.:.:
If a LC glyph follows a UC glyph: you need to use the space bar 6X to get the correct letter space (it will then match the natural spacing between LC); using only LC glyphs (or only UC glyphs) will give satisfactory text results as letter space is set by the programming. But you'll need to manually add the word space you want: between UC (or LC) words a minimum of 3 space taps for a just visible gap, use the space bar 6x for good spacing. Experiment!
Note: the full stop and comma have a line on the baseline to link with UC. There might be no need for a 'space' after those two marks even on LC? The apostrophy has a short line to link it to previous/following UC glyphs (note those link lines retain the meaning of the glyph when used with LC glyphs or an LC following an UC glyph).
SPACE BAR = a 1px space; tap 3x to get a small word space that's obvious
% key = a set of reasonably wide lines to match upper case verticals
_underscore = a space consisting of a long single line on base line only
I'm trying to figure out some diacritics before the 31st so this remains WIP
A stencil version of RC Dynamite made for laser cutting! Could also be an LCD Segment design with slight modification...
This is a clone of RC DynamiteAn attempt to make a Calculatrix with both squares and hexagonal segments. The result doesn't really fit in with the others, but it has a harsh and highly technical appearance about it which I like.
More glyphs later, maybe?
A stencil design in which diagonal cuts are used to imply angles and curves. It does not quite obey the rules of a segmented display, but it tries its best!
This is inspired by some text I put on the side of the Sheepslayer Mk.2, a flying dragon car piloted by Lyll "Hatch" Soretti in my game Seven Candles.