Nothing special, it's just I realized that I submitted only two fonts. A third entry, where I flipped arcs of lowercase letter "o" and took it from there. The result is an alien futuristic font that some generations might use in the future. Erutuf is Future backwards.
Made for FontStruct's Future Competition. This display typeface was designed with a little influence from stencil, this font has rounded corners intermixed with angular corners, and gaps in unusual places. It also uses the “two-storey” lowercase g, which was a challenge to fit cohesively within the restrictions I gave myself.
ASCII + Cyrillic.
See more:
https://fontstruct.com/fontstructions/show/592929/squareup
https://fontstruct.com/fontstructions/show/196641/gaga_stencil
https://fontstruct.com/fontstructions/show/1501135/lazzaro-1
https://fontstruct.com/fontstructions/show/1699935/skvorec-1
https://fontstruct.com/fontstructions/show/722512/teris_4
https://fontstruct.com/fontstructions/show/559344/murus_1
https://fontstruct.com/fontstructions/show/1592394/tiles-9-3
This is a clone of De Stijl CA quick font I made for the FutureComp. I didn't get time to do seperate lowercase letters.
Edit: A glitch happened where for some reason one of the ends for 1, 3 and G (and therefore g) were all different from what I made them to be.
"A cell is merely 7 feet long and barely 5 feet wide." A poor translation of the famous lines of the Dutch poet Jan Campert. The same measurements hold for glyphs in Metafontstruct. Metafontstruct is not really a font, it is a concept. It is a fontstruct within fontstruct, one could say; or it is a new fontstruct, with even more constraints than the one we're all so font of. You can use it in your word processor to create the glyph you like on the spot. When you're finished you press the spacebar to create the next glyph. The keys QWER ASD ZXCV contain possibilities for the left side of the glyph, TYUIOP GHJKL BNM for the right side, and F;',./ for the middle. The capitals and numerals are just some examples of glyphs you can create. There's freedom within these boundaries, as we're all experiencing in these covidiotic times. If I may give another poor translation of a Dutch poem, by Jules Deelder, a famous poet from my home town who died last year: "Within the bounds the possibilities are just as unbounded as beyond." Not enough freedom for you, looking for another brick? Feel free to clone!
Quarantine 2020 allowed for this fontstruction to be born as it provided forced free time.
I'm sure it's true for everyone who designs fonts, there were lots of artistic decisions made in the creation process. Some letters went through a lot of iterations to arrive at their current state. Almost the entire uppercase were designed one way, scrapped and then redesigned this way.
The future is screen. Super high-resolution screen. Resolution so high that it is indistinguishible from printed text. 4K screens are available on mobile devices now. The future is resolution independent then.
Remember that time in the future, when there was a deadly global virus, then they tried to force everyone to take a mandatory untested vaccine, along with an implanted GPS chip that is cryptocurrency controlled and could track you worldwide, along with embedding additional restritions on civil liberties and personal freedom? Oh wait, thats now. Silly humans.
Future technology, like nanoimplants, will be magically rendered invisible with the use of nanotechnology utilizing atomic sized processors enabled through ferro electrics in conjunction with nanowires and carbon nanotubes operating from a ternary extradimensional mathematical framework. Or something like that.
Ironically, this font works best in macro sizes, not micro or nano.
This is a cloneReload your brain, ask about everything. Our Future begins in... 3... 2... 1... NOW! NB: Better writing with uppercase. Three alternatives (B, F, T) to improve readability in certain cases are in the lowercase.
This is a military-style stencil font inspired by the original Stencil-Gothic face (by John West c. 1885), Ironmonger (by John Downer, 1991-93), and Pediker (by Kazimir Samoscanec, 2013). The latter one is a revival of a stencil face of unknown origin. Sorry for the dystopian future. I hope it will never happen.