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Attempt to recap the classic lettering by "Theo Van Doesburg" for avant garde architectural magazine "De Stijl".
Apart from some small variations I made between a couple of upper and lower case characters the two are mostly copies!
A piece of constructivism inspired by Dutch artistic movement "De Stijl".
This is a clone of STF_FABRICON_(OUTLINE)FAKOS VARYTITAS - Futuristic Sci-Fi stencil design
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A Stencil letter with a rather unorthodox form.
The main concept is that of the Sci-Fi / Tech aesthetic. But the asymmetrics in its geometry, various custom build curves and incisions somewhat tune down the mechanical geometric tone of the letterforms, and introducing a slight more humanized touch to its rhythm. These non-traditional attributes making this more of a novel stencil typeface with a strong personality.
The typeface was inspired by space age tech. Its a display style font that is perfect for when your project has to have that typical techy or futuristic aesthetic look. Its best used at large size, but it does work in smaller size format as well.
The font includes:
• uppercase, lowercase & numerals
• accented latin
•diactritics
• symbols & punctuation marks
• ligatures
• some glyph alternatives
• ornamental decorative elements
All "lingual" characters are functional stencils, the only exceptions that aren't stenciled are the ornamental decorative symbols and dingbats.
Cheers
This is a cloneThis 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 cloneModernism alphabet
This is a clone of STF_HETERODYNE_(SOLID)AVANT-GARDE i10 (Regular) - Modular stencil type system
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Another revival of the works originally designed by great dutch graphic designer Jurriaan Schrofer
The original source for this fontStruction was the cover of 1963 paperback: "i10 de internationale avant-garde tussen de twee wereldoorlogen"
by Lehning, Arthur & Jurriaan Schrofer
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This is a optimized re-entry of my very first fontstruct entry. Which was in loving memory of "Jurriaan Schrofer". it was a attempt to re-create a alphabet from late great dutch graphic designer "Jurriaan Schrofer".
Unfortunatly the first entry that I published had some imperfections, and which for the most part were removed in this version.
No true uppercase glyph set for this style (yet), and the only small difference between the Uc and Lc strings is the dot above (i j).
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-- Down here you'll find a link to the 'tiled' style version for this family:
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I hope you like it,
Cheers
Another recap in the ever growing series of attempts to re-create some of the works from late great dutch graphic designer "Jurriaan Schrofer"(15 april 1926 – 1 juli 1990).
This time I revisited the letters taken from one of his sketches called "Alphabet for cutout letters-c. 1985" and completed it with numerals and some additional punctuations!
The only real differences compared to the original sketch are heavier stroke weight and some letter parts/shapes that were drawn in the original were left out from the recap since they are of no use in a typeface!
As usual I completed the alphabet with numerals and some additional punctuations.
Lowercase characters only!!
I joined Fontstruct December last year.
My very first contribution back then was a tribute to the great Dutch graphical designer "Jurriaan Schrofer". And many more followed.
These past six months have passed very quickly, and, much to my surprise I can proudly pronounce that I have passed the point of 10,000 shared glyphs mark. Totally crazy, I'd never expected to have been putting out such a substantial volume of work.
Thank you all for the kind words and the support I so far reveived. I hope all of you have been enjoying my contributions so far, since there is much more to come! :)
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As for the new font,
It's not so much of a celebrating work for a 10.000th glyph submission but it isn't bad either, so enjoy once more.
Another recap of the works by "Jurriaan Schrofer"!
(all downloads will be back available soon, sorry for the incovenience.)
Cheers
This is a clone of STF_JS-CUTOUT 1985I updated and improved my previously published third recap in the series to attempt to re-create some of the works from late great dutch graphic designer "Jurriaan Schrofer".
As extra I added a period plus comma.
I hope you like it.
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!
LUCERNA — Neoclassical stencil serif
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Lucerna is a modern neoclassical stencil serif in the Didot style.
Simple & Elegant...
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Created primarily with the focus towards luxury fashion and marketing brand-oriented projects, aiming at luxurious and sophisticated design projects.
Although it’s a true and fully functional stencil, design focus wasn’t so much
concentrated around the 'functionality' part of the stencil concept. Instead it was more focussed on the stylish implementation of the concept and on making sure it looks pretty.
The stencil concept was achieved by way of stroke omissions. Some of which are large and drastic, leaving only critical parts of the stroke intact, while others are more subtle, like those detached crossbars or cuts seen in the hairlines.
Thin transitional bracketed serifs and a mixture of various sized teardrop- and pointy terminals, combined with the high stroke contrast, these make up for a sharp and interesting looking font that provokes this thoughtful stencil letter concept.
There is a lot of subtle dynamic height deviations going on, hoping to tune in to more of a lively rhythm, and introduce some playful characteristic properties.
Minute changes to optimize optical performance have also been implemented, such as overshoots. The relative low cap-height makes up for a somewhat short and stocky uppercase quality. Its accompanied by a relatively tall x-height that results in a fairly large lowercase size. Due to the lower cap-height of the font, the short ascenders parts of the lowercase letters still exceed above the Cap-Line, preserving some of that otherwise lost white space, improving legibility.
The design's missing segments and various random detached bits 'n pieces aren't as functional in smaller sizes. Making it harder to read or distinguish detached letter elements from puntuation marks. So it is best used for display purpose.
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A small number of glyph alternative forms are included as well:
• 2 forms of lowercase letter a:Single-storey and double-storey (default).
• 2 forms of upper- and lowercase letters Ss:Pointy terminals (default) and teardrop terminals.
• 2 forms of upper- and lowercase letter Tt: Uppercase letter T has two variations of pointy terminals, normal angled and extra angular. Lowercase letter t has alternative form with teardrop shaped terminal to use at the end of words, and can add a slightly more stylish look. The default version has better proportional width with just a small non-decorative curved terminal, this default form has smaller width for a improved horizontal text advance.
• 4 forms for lowercase letter g:Just 3 additional extra slightly alternate forms.
• 5 forms for lowercase letter f:Bracketed (default), curved, teardrop narrow, teardrop extra narrow, teardrop wide.
• Extra set of Copyright symbols:Cap-height size and x-height size.
• 5 forms of Pilcrow symbols:Just 4 additional extra alternate forms.
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It covers most basic Latin languages, 65 in total so far.
Several symbols and punctuation marks are included. (probably more later)
I hope you like it so far,
Cheers
This is a cloneWhat 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!
SJABL00N - A futuristic looking display stencil
It is far from perfect, and especially the symbols and punctuation marks could here and there be better.
I think this was initially inspired by the likes of Wim Crouwel and similar graphic designers.
I hope you like it
This is a cloneSUTORAIPU ORIGAMI - A display typeface that was inspired by origami.
Enjoy!
This is a clone of STF_SUTORAIPU ORIGAMI (MULTILINE)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.