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 cloneSee more:
https://fontstruct.com/fontstructions/show/524596/candy_56
https://fontstruct.com/fontstructions/show/829881/fs_neon
https://fontstruct.com/fontstructions/show/1501556/dx-minima-rounded
https://fontstruct.com/fontstructions/show/1695748/all-together-now
https://fontstruct.com/fontstructions/show/445209/arancito_1
https://fontstruct.com/fontstructions/show/796901/fs_slate
MIKITA - A "Chrome Script" style font based on the "Makita" logo type.
It is a simple 'semi' connected script, with only the basic character set. I don't feel like this requires having tons of typographic features. It is just aimed at writing simple things in this script style.
I hope you like it nonetheless
Cheers
I love these kinds of fonts that have geometric puzzle-solving quality in the design. I was quite happy with how the lowercase found a way to be connected. Then I thought let me not mess with anything else. But a Z is so much like a 2, so I created the 2 out of the Z. Then when 2 was done, I was aprehensive of tackling the 1 because the vertical stem would be off by one brick, and how would that be resolved. Reluctantly I tried it...and it worked. 3 can be created from the B, but the B hasn't been created yet. OK, I guess I have to do the uppercase. A was easy. B was surpringly easy. Which gave me motivation to go on. And surprisingly soon, the whole thing came together. The hardest letters to shape were X and S. Not all letters are very successful, but they are distinctive enough to be recognized as themselves. Not sure about the =, but it will do, I suppose. In any case, no kerning required.
This typeface was created on the main theme of 'Protection' that i later explored in the idea of fences and how they can protect us from the outside world. I wanted my letters to connect with one another creating the illusion of a fence and potraying unity.
Years ago, a small font from 2008 caught my eye. Now I've dared to use its structure to modify and complete it, and thus create a new visual experiment. I'm sorry, diacritics are the weak point. Hope you like it. ¡Y Feliz Navidad a todos, amigos!
This is a clonecloned from Christian Munk (Spitzchtruct)
this is a cursive "workshop" to be improved upon
it seems to me that there is not really much of a choice on fontstruct for cursive letters, most are connecting at the bottom which does not look natural in my opinion.
i thought i'd give it a try despite my being a beginner at this
Christian Munk had the right idea to make the connectors from the bottom on the right side of each letter and up to the middle of the left side of each letter above the baseline. it looks more natural that way.
however, some of the original creator's letters did not make sense to me, maybe it is a different language or a constructed language?
i liked some of the basic composited bits and pieces made by the originator
I moved most of Christian Munk's original created letters over to the empty punctuation spaces. the originals that i thought were okay i moved to the empty capital spaces. (there are no capitals in the original script). i'm not sure why some of the letters are strange looking, such as the letter D which looked like a capital V so i put it there instead.
then i recreated most of the lowercase letters using their bits and pieces
i think the only letters i kept the same were b, l, i, j & z
i may finish it later, the capitals need to be finished
but i thought i'd share what i got done ... it might be useful for ideas for an improved cursive script
This is a cloneSee more:
https://fontstruct.com/fontstructions/show/2385180/vcr-multiline
https://fontstruct.com/fontstructions/show/1924523/hydrocycle
https://fontstruct.com/fontstructions/show/1509517/volga-1
https://fontstruct.com/fontstructions/show/1926014/squidward-4
https://fontstruct.com/fontstructions/show/2240805/shodan-5
https://fontstruct.com/fontstructions/show/1933790/two-souls
https://rentafont.com/fonts/dr-refunk
https://fontstruct.com/fontstructions/show/1904474/sanding
WIP
See more:
https://fontstruct.com/fontstructions/show/1500535/contortion-c
https://fontstruct.com/fontstructions/show/1577341/zoftly70-eye-fs-3
https://fontstruct.com/fontstructions/show/2256589/sidetracked-6
This is a clone of zimonart R eYe/FSWhen each column of 4 pixels is read from top to bottom, they form letters in Morse code.
This font is not meant to be used with ordinary letter case. Start each word with a capital letter. As you type, use a lowercase letter if the previous letter touches the bottom of the cursor, and an uppercase letter otherwise.
Example text: ACcOrDiNG To ALL KNOwn LAWS Of AVIatIoN , ThERe Is NO WAY A BEE SHoUld BE ABLE To FLY . ItS WIngs ARe ToO SMall To GET ItS FAT LItTle BOdY Off ThE GRoUnd .
This is a stylized version of Block Morse. Each letter has roughly the same outline, but several liberties are taken with the proportions and formatting. For example, filled 3x3 squares are indicated with a diagonal slash and "E"s are marked with an extra stroke.
This font is not meant to be used with ordinary letter case. Start each word with a capital letter. As you type, use a lowercase letter if the previous letter touches the bottom of the cursor, and an uppercase letter otherwise.
Example text: ACcOrDiNG To ALL KNOwn LAWS Of AVIatIoN , ThERe Is NO WAY A BEE SHoUld BE ABLE To FLY . ItS WIngs ARe ToO SMall To GET ItS FAT LItTle BOdY Off ThE GRoUnd .
Inspired by Dry Heat Medials and English cursive, named Atlantico because it's similar to Pacifico.
Capitals - Low connectors
Lowercase - High connectors
!"#$%&'()*+,-./0123456789: - Initials
;<=>?@[\]^_`{|}~¤¥¦§¨©ª«¬ - Low Finals
®¯°±²³´µ¶·¸¹º»¼½¾¿ÀÁÂÃÄÅÆÇ - High Finals
ÔÕÖ×ØÙÚÛÜÝÞßàáâãäåæçèéêëìí - Capitals
Low low space: [No-Break Space]
Low High space: ¡
High Low space: ¢
High High space: £
Low final z at the soft hyphen glyph ()
ÈÉÊËÌÍÎÏÐÑ - Numbers
ÒÓ - Period and Comma
Ô4LANTIC} ìÖ Ùæ
à!D? "Æ á!THA| ×/uGLA¦
See more:
https://fontstruct.com/fontstructions/show/1621174/pinnu
https://fontstruct.com/fontstructions/show/808707/analogly
https://fontstruct.com/fontstructions/show/1927675/worm-flat-2
This is a clone of RoubdedORIENTFAHRTEN (Pro) — Semi-connected script-style font design
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Losely based on the lettering that was seen on a 1929 poster design by German painter Ottomar Carl Joseph Anton (1895-1976) for the “Hamburg-Amerika Line” * (click for image of the original poster)
Whereas the original (non-Pro)-version aimed at extracting that “stylistic essence” of the lettering, and made an attempt at extrapolating and restoring a full alphabet from the letters provided by the original poster. And this basically became sort-of a font revival with a little extra's.
ORIENTFAHRTEN (Pro) than took this to a whole other level, This refor-mation wasn't guided by Ottomar's original poster-lettering, but rather a remodeling and amelioration of my initial work.
Many glyphs were fully re-invented, others only just partially improved.
In addition to this, many new things were introduced as well. For example, the font was further ornated with various typographic elements and bits, reminiscent of calligraphic hand lettering. Turning this into a much more attractive looking little novelty.
Also some “technical” restructuring of the Unicode character mapping, to creating more user-friendly text formatting properties.
Since it is a semi-connected script, certain characters were deliboratly disconnect and some weren't. For example, the uppercase letters almost all disconnect, whereas the majority of lowercase letters will connect by default. A set of glyphs alternate forms was included that allow to break the 'connected' flow of a text.
These also function sort-of as “Contextual Substitutions”, but without OpenType's automated glyph-stream lookup classes. Yet these do allow the manual control over word-endings and word-space situations. So when a default-glyph is followed by a white-space, a glyph-alternate form could than be selected to replace the default-character encoding and improve overall aesthetics and natural flow of text. These substitutions are located in the “Halfwidth and Fullwidth Forms” and “Private Use Area's” Unicode blocks. In addition to the default alphabet letters the font also includes numerous symbols and punctuation marks, as well as ligatures.
As for the “numberscomp” that is currently in progress:
This font was specially fitted with 5different schemes for text figure arrangement.
• Didot-(old style) non-lining (font default)
• Traditional-(old style) non-lining
• Clean-(modern) lining
• Tradidotional-(old style) non-lining
• Ornate-(modern) lining
— This does temporarily create a new problem for me though... As this would be my fourth submission to the competition, where a maximum of only three font submissions is allowed. Now, which of these previous entries am I going to eliminate?!
I hope you like it,
Cheers
This is a clone