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It's finally done, it took me nearly 2 days to get the kerning done and balance this baby, but here she is!
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SCRIPTORIUM - A Gothic script/Blackletter typeface design with drop shadow.
A fun, jagged and crazy display font!
The lowercase are alternates to the uppercase, so feel free to shuffle them as much as you like!
UPDATE: I changed the "U" and "V", and i made some numbers and simple punctuation. I also made the lowercase/alternates. All thanks to @frongile and @riccard0
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:
• 1:|_
• 2z
• #3
• 4-|-
• 5s
• 6s
• 7*
• 8b
• 9$
• 0o
The extenders are located in the following locations:
` - _ # = :
The isolated stems are located in the following locations:
| }
"Sederhana" is an Indonesian word, meaning "simple"
with its simple style, funny looking "V", lack of diagonal lines, and its easy to read!
this font is CAPITAL ONLY!
note for Arab users:
بطريقة ما لا يعمل الجزء العربي من الخط ، لذلك يجب عليك استخدام الأحرف الأساسية النهائية والمتوسطة والأولية للكتابة بدلاً من ذلك
اسف على ذلك :/
somehow the Arabic part of the font doesn't work, so you must use the final, middle, and initial base characters to type instead
sorry for that :/
(نعم أنا أستخدم مترجم جوجل فأنا لست عربي, yes i use google translate, I'm not an Arab)
- Basic Latin
- More Latin
- Extended Latin A and B
- Greek
- Cyrillic
- Arabic
- Armenian
- Georgian
Intended Language Support
عربى-Arabic
հայոց լեզու-Armenian
Беларуская мова-Belarusian
български език-Bulgarian
Hrvatski jezik-Croatian
čeština-Czech
Dansk-Danish
Nederlandse taal-Dutch
English
Esperanto
Français-French
ქართული ენა-Georgian
Deutsch-German
Magyar-Hungarian
Bahasa Indonesia-Indonesian
Italiano-Italian
Қазақ, Qazaq-Kazakh
Melayu-Malay
Polski-Polish
Pусский-Russian
Српски-Serbian
Tagalog
Türk-Turkish
українська-Ukrainian
Artsy kind of font. The name comes from: 1 thick line, 2 thin ones, another thick one, and letters are all lower case. One of these days I'll add Czech and Polish. There were a few challenges regarding heights but I think the balance is fine now and the glyphs legible.
An experimental font "antipode". The opposition lies in the fact that in one font there are rounded strokes and pixels. Some letters and characters are completely rounded, some are pixelated, and some have both rounded and pixel elements
.
52 characters for the basic Latin set, 10 numerals, 36 punctuation characters, 66 characters for the Russian language set
.
Please let me know what do you think :)
Recap of the lettering seen on a old brochure by Wendingen for the "Internationale Theater Tentoonstelling Amsterdam 1922"
The brochure and letters were designed by:
"Hendricus Theodorus Wijdeveld" (4 october 1885 – 20 februari 1987).
As usual I completed the alphabet, but (since its mainly a display typeface) this time I used the punctuations to store some glyphs meant to be used for drawing ornamental decorations as seen on the original brochure design.
Style variation in the "STF_CONNECTED SQUARES v2" typeface family.
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A remastered version of "CONNECTED SQUARES". A previous recap I did from the work of late great dutch graphic designer "Jurriaan Schrofer".
This time I made a much more accurate version. I also added uppercase letters and some extra punctuations.
Enjoy!
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!
It took me so long damn it
original work by Sed4tives
This is a clone of STF_BLACKPAPERSTF_VINDALOO (Extra Bold Condensed) - An extra bold and condensed Art-Deco display sans
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This initially had already been a published work from my early days of Fontstructing and the original had a lot that was less than desirable. For a start, the obvious rookie mistakes, that were due to the lack of typographic education as well as insufficiant knowledge about the overall Fontstruct-Editor Expert-mode features.
- - -
Now several years later, fully acustomed to the physiology of Fontstructing (composite bricks, filters, behaviour) but above all, to be able to visualize ahead and to conceive imaginary conceptual thinking for new ideas or solutions within the FS-Editor limitations. And in return to bounce back from these restrains and make them work in my favour.
So now I feel like I have to give some of my older Fontstructions a serious reassessment, and perhaps do some revisions here and there.
There are numerous hidden gems and potentials within these works, for which back in the day I remained unable to accomplish to their full glory and complete satisfactorily successful end result and design objectives.
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To get back at this particular font:
There was some unsolidified hidden beauty in certain forms that had yet to 'truly' be revealing itself. I completely overhauled a clone but basically ended up with more of a new font instead.
And I really like it
B-)
This is a clone