fs flimsy
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I usually do thick or heavy fonts, so this time I decided to go a different route and do something thin and skinny. The diagonal line on the zero is a little thick, so I might change that later. If you have an idea for the @ symbol, please tell me, feedback is appreciated. Thanks
van nelle
ゔぁん ねるるえ
ван нэллэ
F.F.M. (Sharp) — Constructivism style lettering
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Revision of a typeface for one of my all-time favorite record labels, the German (Frankfurt) based "Planet Core Productions". The typeface was seen on many of their vinyls and cds as well as various other stuff. It originated back in 1992 and was custom made by Paul Nicholson for the Planet Core Productions.
The original came as a minuscules (lowercase) only, plus it had fewer symbols & punctuation marks. So I took the liberty of filling in the blanks, and expand the character set.
Besides the inclusion of a uppercase set I also added some extra symbols and punctuations as well as a hand full of alternative forms that I gathered from various media such as CD, vinyl and posters.
This is the Sharp style variation for F.F.M. and this version features sharp/hard corners.
The main purpose for the digital recreation of the label's typefaces is to supplement in the creation of Planet Core Productions related literary scribings. The typefaces are the property of Planet Core Productions and were originally designed by P. Nicholson.
Cheers
This is a cloneF.F.M. (ANGEL DUST) — Futurist constructivism style lettering
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Digitization of a typeface for one of my all-time favorite record labels, the German (Frankfurt) based "Planet Core Productions". The typeface was seen on many of their vinyls and cds as well as various other stuff. It originated back in 1992 and was custom made by Paul Nicholson for Planet Core Productions.
This is the ANGEL DUST style variation for F.F.M. and this version features an entirely different font, but sourced from that same record label.
The main purpose for the digital recreation of the label's typefaces is to supplement in the creation of Planet Core Productions related literary scribings. The typefaces are the property of Planet Core Productions and were originally designed by P. Nicholson.
Cheers
F.F.M. (Round) — Constructivism style lettering
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Revision of a typeface for one of my all-time favorite record labels, the German (Frankfurt)"Planet Core Productions". The typeface was seen on many of their vinyls and cds as well as various other stuff. It originated back in 1992 and was custom made by Paul Nicholson for Planet Core Productions.
The original came as a minuscules (lowercase) only, plus it had fewer symbols & punctuation marks. So I took the liberty of filling in the blanks, and expand the character set.
Besides the inclusion of a uppercase set I also added some extra symbols and punctuations as well as a hand full of alternative forms that I gathered from various media such as CD, vinyl and posters.
This is the Rounded style variation for F.F.M. and this version features rounded/soft corners.
The main purpose for the digital recreation of the label's typefaces is to supplement in the creation of Planet Core Productions related literary scribings. The typefaces are the property of Planet Core Productions and were originally designed by P. Nicholson.
Cheers
This is a cloneNamed in honor of Wim Crouwel. The main idea was to simplify the Latin alphabet as much as possible, reducing the letters only to verticals and levels, but still leaving the alphabet very readable.
Capital letters: hard shapes.
Small letters: soft shapes.
Working under the theme of 'Rebirth', I have focused my first font on the idea of post-war architecture, or otherwise commonly known as modernist/brutalist architecture. Buildings constructed following the Second World War were built using new technologies of construction. These types of designs were known for their use of modern materials such as concrete and steel as well as their interesting geometrical forms. I was heavily influenced by the architecture featured in Owen Hopkins' book 'Lost Futures' which looks at the disappearing architecture of post-war Britain and how changing external contexts played a role in the subsequent destruction of these buildings.
ELEVATED (PRINT) - A 3D outline display typeface design with shadow effect.
It's inspired by the lettering from a sketch by great Dutch graphical designer "Jurriaan Schrofer".
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This is the long overdue shadow style variant which was requested by Goatmeal and elmoyenique. It has diagonal shading lines included (as was also presented in the original sketch by Jurriaan Schrofer)
This rework has one major difference compared to all previous versions, once more it was constructed with a different size to grid ratio, one that corrects the size distribution, enabling the recreation of the original sketch with high accuracy.
The stroke weight in this "PRINT" version more accuratly mimics the original sketch and therefor is not optimized for digital display use.
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The shadow effect is the default style for this font, this also includes all numerals, punctuation marks and other symbols that make up the full font, these occupy the uppercase. The outline style A-Z glyphs occupy the lowercase.
Enjoy!
This is a cloneAttempt 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!
MARTIAN AMBASSADOR - a quirky alien looking typeface.
What first started as a tryout to make entire glyphs within a single composite brick quickly got out of hand. lol
Each glyph was designed on a 2x2 grid by way of composite stacking. Lowercase and superscript characters are single brick composites.
Viewed in the fontstruct preview many glyphs do not show clean edges because I heavily made use of composite bricks and stacks on a small grid. However, these irregularities are not really present in the actual TrueType Font.
Inspired by the lettering found on a vintage sheet music cover art for "La Java bousculée" released in 1924. Cover illustration and letters are designed by "Robert Laroche".
I attempted to complete the alphabet and numeral plus some punctuations!
It's been a while since I last revisited the works of "Jurriaan Schrofer".
So here is another one by the late great Dutch graphical designer.
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Style variation in the SEMIOTICA type family.
A type family based on the lettering seen on the book cover of "Semiotica - Journal of the International Association for Semiotic Studies" published by Mouton. The letters and book cover were originally designed by "Jurriaan Schrofer".
As usual I completed the alphabet plus numerics and added numerous punctuations.
This is a clone of STF_JS-SEMIOTICA (INCISED)It's been a while since I last revisited the works of "Jurriaan Schrofer".
So here is another one by the late great Dutch graphical designer.
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Style variation in the SEMIOTICA type family.
A type family based on the lettering seen on the book cover of "Semiotica - Journal of the International Association for Semiotic Studies" published by Mouton. The letters and book cover were originally designed by "Jurriaan Schrofer".
As usual I completed the alphabet plus numerics and added numerous punctuations.
This is a clone of STF_JS-SEMIOTICA (INCISED)Style variation in the SEMIOTICA type family.
A type family based on the lettering seen on the book cover of "Semiotica - Journal of the International Association for Semiotic Studies" published by Mouton. The letters and book cover were originally designed by "Jurriaan Schrofer".
As usual I completed the alphabet plus numerics and added numerous punctuations.
This is a clone of STF_JS-SEMIOTICA (INCISED)It's been a while since I last revisited the works of "Jurriaan Schrofer".
So here is another one by the late great Dutch graphical designer.
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Style variation in the SEMIOTICA type family.
A type family based on the lettering seen on the book cover of "Semiotica - Journal of the International Association for Semiotic Studies" published by Mouton. The letters and book cover were originally designed by "Jurriaan Schrofer".
As usual I completed the alphabet plus numerics and added numerous punctuations.
This is a clone of STF_JS-SEMIOTICA (INCISED)Style variation in the SEMIOTICA type family.
A type family based on the lettering seen on the book cover of "Semiotica - Journal of the International Association for Semiotic Studies" published by Mouton. The letters and book cover were originally designed by "Jurriaan Schrofer".
As usual I completed the alphabet plus numerics and added numerous punctuations.
Modernism alphabet
This is a clone of STF_HETERODYNE_(SOLID)Modernism alphabet
This is a clone of STF_HETERODYNE_(SOLID)A remastered version of the classic lettering by "Theo Van Doesburg" for avant garde architectural magazine "De Stijl".
So, rather than a replica of the original, this is a 2018 view of the classic letters. It still follows the global contour of the original letters but instead of being stenciled it features solid glyphs.
FABRICON-CAST is another style variation within the FABRICON family.
This style was inspired by metal casting and apart from some minor varriations I made to the punctuations it's very similar to the other styles in this family. Except that unlike the other styles this one will not combine seemlessly with the rest.
This is a clone of STF_FABRICON_(OUTLINE)