A tall thin stroked Art Deco typeface experiment.
I tried to create pretty simple but ellegant geometric letterforms. It is inspired by the later 70's Art Deco Streamline period.
The character set is far from complete for now, kerning done only for a few pairs and overall balance therefor is still quite poor.
--------- UPDATE v2.0 ---------
I completed much of the basic latin with mix-caps alternative glyphs and a lot more, along the way the whole project also kind of turned into a attempt to construct very thin (1/8th grid unit) sloping strokes and asymmetric curves.
I also decided to make this clonable for educational purpose to everyone interrested in making asymmetric curves with very little compromise to allignment of the constructed curving strokes. It's not a tool, but rather a little insight into how I did this. So the custom brick pallet is messy. Another important thing is, To fully understand what is going on under the hood of this fontstruction some knowledge about resizing bricks by way of composites is required. Because the location of the brick inside of the composite bricks grid can be very important upon rotation and nudging!!!
filter for brick size should remain at 2:2 in order to make propper allignement of the bricks.
Updated pro version for my previous font STOUTE VRIEDJES.
* Full support for both upper & lowercase characters.
* Optimized for more legible display at small point size.
* Overall ballance now much more consistent.
* Lowered the font's weight to make it look slightly less bold.
* Stroke width for all horizontals decreased by a small amount. In addition to this I also slightly increased the size of all the counters. This way giving the font a more open feel.
* As last in a attempt to overall make it look more aesthetically appealing various small changes have been made to the letterform approach & other specific small details as well.
Enjoy!This is a clone of STF_STOUTE VRIENDJES
Experimental doodle. The idea here was to make letters, ascenders/descenders, and diacritics obey the same ratios. The result looks sci-fi and sporty at the same time...
Sort of a revival of the geometric letters seen on a 1916 Dutch litho to paper poster for Wm H. Müller & Co.'s Batavier-lijn passenger service Rotterdam-London. The Batavier Line was the oldest steam shipping line in the Netherlands. The line existed from 1830-1960.
The litho design was originally done by Bart van der Leck (1876 - 1958).
The fontstruction is a Faux Bezier approach, so the design grid was huge. Making it a lot of work and hard to ballance with the editors kerning feature.
I made a couple of small changes as compared to the original, most significant is the upscaled Ampersand.
I completed the alphabet plus numerals and some punctuations.
There are still a small number of spacing issues that needs to be solved.
More characters will follow soon.
This typeface has been designed by taking inspiration from the theme ‘decorative’. I started to explore different aspects of this word which lead me to Moroccan/ Marrakesh tiles, not only are they a key feature of their country but they are also frequently used around the world and with their intricate geometric designs, they are distinctive in design. Keeping this in mind, I wanted to create a decorative font which portrayed this.
A pretty simple looking variable sans-serif design.
The font allows you to modify the width of nearly every glyph. The one exception that can not be changed is the exclamation mark. I tried to simplify it the best I could, but it remains a little tricky to use, sorry.
HOW TO USE:
To type any sensible text you should start with the uppercase of a certain letter (this will create the left side of it). Followed by the corresponding extender to widen the glyph (repeat this step for a even wider result), and to complete the full letter you close the string with the lowercase glyph for this specific letter (this will create the right side).
There are a couple of glyphs that work slightly different.
These are I,M,T,W,Y, numerals and some punctuations.
To widen "I and T" the extenders are typed before and after the actual letter combination instead of in between.
M,W and Y are split in three (center stem is isolated) in order to allow one to make changes on both sides. To correctly type one of these you start with the uppercase for this specific letter, followed by the corresponding extender, followed by the corresponding center stem, followed with the extender once more, and as last to complete the full letter close the string with the lowercase glyph for this specific letter.
To extend the colon and semi-colon you complete the string for either period or comma first, followed by ;(semi-colon). This will place a dot above it.
And as last, to make a underscore simply use the string for period but with extra extenders.
The numerals work as listed bellow:
The extenders are located in the following locations:
` - _ # = :
The isolated stems are located in the following locations:
Just a variation of an existing design. Spacing values were changed to break the chains, and "space" & "no-break space" were made blank.This is a clone of Might Chain
A second typeface inspired by the theme 'systematic', developed through finding hidden shapes within geometric architecture and using them as building blocks for the letterforms, this time blacked out to create a bolder more imposing style. Sister font to - STACKEDThis is a clone of STACKED
I tried to recreate the Braun GmbH logo type and make it a full font, I used only the five letters in the logo as a reference. Since there are a bunch of revivals out there already. I just did my own interpretation of it.
This a typeface designed to echo the shapes and patterns found across manholes which cover our network of systems across the UK. Manhole covers have been beautifully decorated with patterns but also act as indicators and safety features. Both patterns and the shaping of letterforms are inspired by manhole covers I have found. Designed to be a display typeface at large scales!
A typeface inspired by the theme 'systematic', developed through finding hidden shapes within geometric architecture and using them as building blocks for the letterforms. Sister font to - STACKED BLACKOUT
At first I started to struct the lettering seen on the book cover of:
"Tot elkaar veroordeeld 'De Nederlands-Duitse economische betrekking' (tussen 1945-1957)"by Martijn Lak.
But doing a little more research it turned out to be the 1988 geometric typeface "Senator" originally designed by Zuzana Licko.
I took the liberty of making sort of a replica.
I made a couple of small changes here and there trying to improve its overall look.
Geometric Art Nouveau lettering inspired by as well as trying to mimic Uncial & medieval Insular script letters!
Inspired a little bit by my previous font Nordkurve. As a result, I've named it after another German Formula One track curve. Nürburgring, this time.
Portland State University has employed sworn and armed Portland Police officers since 2015, despite widespread dissent from the student body. On June 29, 2018, officers from the PSU Campus Public Safety Office used unnecessary deadly force when they shot and killed Jason Washington, a 45-year-old man who was trying to break up a fight outside a bar near the PSU campus. Jason Washington had a wife and a family; he worked for the United States Postal Service and was a Navy veteran. His killers were placed on paid administrative leave until a grand jury declined to indict them, and they will not face criminal charges.
It's far past time for PSU to take action. Two internal reviews have been planned, but no timeline has been given for when they will be complete. If Portland State University wants to be seen as a progressive school, the administration needs to take action and listen to what students have been saying for three years: Disarm campus security.
You can't be a progressive school if your security officers can get away scot-free with killing a black man who was trying to de-escalate a fight, just because he happened to have a gun; or if you allow anti-choice protesters to display twenty-foot-tall displays equating abortion to genocide in the center of campus, complete with graphic images of genocide victims and infamously falsified depictions of "aborted fetuses"; or if you knowingly provide a platform for notorious far-right agitators to spread their violent, hateful rhetoric in a city already fraught with neo-Nazis looking to cause harm to marginalized people. Kindly get your sh*t together, and stop pretending to be progressive: either drop the pretense, or drop the bullsh*t that should have been left to die back in the 40s-60s.
Anyway. I made this font as part of a design I'm donating to the #DisarmPSU movement on campus. Bootlickers are welcome to piss off and not use this font. No political arguments in the comments please.
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 on the side of the Sheepslayer Mk.2, a flying dragon car piloted by Lyll "Hatch" Soretti in my game Seven Candles.
Folding and incisions of lines inspired by Sed4tives STF_DER ZEKLUS...
"Next in Folded Line" was cloned from→ "Next in Line"→"EC_Hollow"→"Ec_Tunnel"→"Auto Mode"→"Auto techno"→and originated from "RoadTest".
Thank you guysThis is a clone of Next In Line
An experimental 15-segment display which looks rather like a fence.
There's no DEFENSE against DA FENCE!
See also:Lonewolves Guild
Made as an exploration of "how small can I make the grid I use to design letterforms, before they become illegible" with added geometric flair because I got bored.