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This was a simple idea started from S and T. Most of the glyphs have two verticle strokes that are 4-bricke-wide and a 1-brick-wide area in the middle of the character. except I, L, S and T (actually a lot more). They are a bit different. Especially S, T and L. The whole characters are only 8 bricks wide. As I mentioned above, It's because the whole font started from these characters.
Straka the name came from last name of a person. The S and T reminds me of this person's last name. I like this last name although I don't even know him.
About the Latin extension, I have made only the glyphs that require no new design, just diacritics and already made letters. So I can pretend like hard-working on fonts but copy paste in reality. :P
Also, I made Arabic glyphs. Only isolated forms. Which I suppose won't be a comfortable experience to Arabic users. It's like every letter has crazy swashes but every letters are lightyears away from each other.(or is it?)
Credit me bcuz it took days and I gave it all to you for free. Unthankful hairless ape. :p
has it gone 2 far? hope it didn't hurt you.
A 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.
The 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 StencilHere is my take on Scaffo Stencil.
This is a clone of Scaffo StencilTirrel 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
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
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
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!
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 “”).
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.
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!
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.
Recreation of the primary pixel font from Sin-Nihon Laser Soft/Telenet Japan/NEC's "Last Alert" (aka "Red Alert", 1989) on the PC Engine/TurboGrafx-16.
Only the characters present in the game's tile set have been included.
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
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