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WIP
See more:
https://fontstruct.com/fontstructions/show/1679935/topo-black-1-1-4
https://fontstruct.com/fontstructions/show/1503856/cryostasis-1
https://fontstruct.com/fontstructions/show/1864360/tlof-katana
https://fontstruct.com/fontstructions/show/159996/obsolete_2
https://fontstruct.com/fontstructions/show/2004601/ordnancetm
https://fontstruct.com/fontstructions/show/1518260/fs-phobos-1
This is a clone of Patchy Crypt RobotsSee more:
https://fontstruct.com/fontstructions/show/1778862/sekiro-1
https://fontstruct.com/fontstructions/show/2373484/vectix
https://fontstruct.com/fontstructions/show/2376945/zeethara-eye-fs
This is a clone of FigmentHELLO,
FEEL FREE TO USE THIS FONT IN ALL KIND OF PRIVATE AND COMMERCIAL THINGS AND OTHER ART IN THE UNIVERSE. LET ME KNOW THIS. PLEASE COMMENT.
YOU CAN'T SELL THE FONT DIRECTLY. PLEASE DON'T MAKE ANY KIND OF COPIES.
FEEL FREE FOR DONATION AND HONOR MY WORK.
PAYPAL RALF.FILLINGER@VODAFONE.DE
THANK YOU FOR USING THE FONT AND HAVE A LOOK TO MY OTHER FONTS.
BEST REGARDS
RALF
This Fontstruction is a joint venture between Dmitriy Sychiov and myself, Sed4tives.
A while ago I had the concept basic forms for this design pre-published in an effort to try and reach out to y'all, asking if any of you was interested in joining me in this attempt to create a multi member community collaboration.
The original idea had I invisioned at that time was; presumptuous that most writing systems have two parallel sets of letters that can be used to distinguish between upper- and lowercase. That hypothetically could than be divided in two separate "Half-A-Bets"(oopz, lol). One one for upper- and a second for lowercase. Allowing two Fontstructors to each choose their own designated section within that specific language. But enthusiasm quickly reached critical mass, making a mild gesture go ballistic and somehow sketched this crazy wild idea of having multiple participating parties that each reserved one-half of a language within one of the several designated ranges for the Basic Multilingual Planes (preferably within their native writing system if possible), and in turns to each have them supply the glyph set for their section.
Oh, and "Sweet mother of a blind gekko", boy what was I wrong, as eventually only one Die-Hard going by the name Dmitriy hooked up with the project in the end.
So hereby I proudly present the results of this combined forces:
"Gesamtkunstwerk" — A Futuristic sci-fi stencil sans
The philosophy behind the FontStruction was to publish the completed font with open font license (so that it is clonable). Feel free to redistribute/share, clone, learn or even refurbish mash-up and re-publish your version.
— [The original collaborative project is now closed for any new participating parties, sorry!]
Some small things still need additional work, such as kerning (which is incomplete and remains a WIP for now), Cyriillic script still missing uppercase set. All of this is scheduled to be included soon, so stay tuned..
hope y'all simply enjoy it so far nonetheless!
Cheers
This is a clonePresenting Capcom's Makai Island (aka. Higemaru Makaijima), released in 1987. This font is a stenciled version of Bionic Commando (Arcade), created by Patrick H. Lauke and The Real Mighty Guru, and this game was released for the NES, as a prototype. This font is similar to Bionic Commando.
This is a clone of Bionic CommandoA 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.
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.
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 “”).