Monospace, single-case display font based on simple geometric rules. Starting with a square, alphanumeric characters are created only by rounding corners, adding a center hole, or adding vertical or horizontal slots, with few exceptions.
Expanded from a logotype designed for a portfolio piece- interesting for titles, headings, and other decorative use but too stylized to be legible in larger blocks (try it out though!)
Alternate glyphs are included in the "uppercase" set.
WIP. N and v looks OK?
See more:
https://fontstruct.com/fontstructions/show/1025307/geostyl_1
https://fontstruct.com/fontstructors/1104892/sychoff/favorites?tagId=134&tag=Cyber&tagType=fave&filters=all
https://fontstruct.com/fontstructions/show/1544279/digitalis-6-4
https://www.fontsquirrel.com/fonts/bender
https://fontstruct.com/fontstructions/show/1748910/tlof-final-cut
https://fontstruct.com/fontstructions/show/1501135/lazzaro-1
https://fontstruct.com/fontstructions/show/1933557/albion-4
https://fontstruct.com/fontstructions/show/1025307/geostyl_1
https://fontstruct.com/fontstructions/show/1144257/hexagonia_1
This is a clone of OctastructInspired by the shapes of G1 Decoreus. Vertical serifs only (not sure if that makes sense, but seems to work)
Inspired by Special Broadcasting Service’s Mercator Logo.
A new font name as the "Mercator" (named as the shapes look like a mercator globe in 2D) was launched in December 2021 instead of March 1993. It features five blue curved splices with the letters SBS in white. The five splices represent the five continents of the world and the sat on a 23.5° angle which depicts the natural tilt of the Earth's axis. The ID's usually show the Mercator logo without the letters SBS between 1995 and 2003.
This is one of those fonts where you put yourself to work to unload the mind of other more complicated and that give headaches. It was born for a notice that encouraged to participate in the last FutureComp and now it is finished. And I like it. I must admit that it has returned me to pleasant sensations of time ago, when all was simpler.
A script for the Larimin language by Olga Laedel
(neither the language nor the script belong to me)
h is /ʍ/, q j are /ʃ ʒ/, 8 9 are /θ ð/ since the language is base 8
' is umlaut, ` is nasalisation, ~ is both
. is end of sentence, "," is octal comma, : is end of paragraph, - is hyphenation sign
See more: https://fontstruct.com/fontstructions/show/1418134/lasers-1
This is a clone of Ockham SmoothAnother "2-in-1" fontstruct. To obtain a chained word, please write their letters using only the uppercase (= with connectors) and use the lowercase (= without connectors) to finish the last letter of your word. E.g.: HELLo. The lowercase works like a traditional font too.
WIP
This is a clone of sitelen konFriends, I'm asking for help! Which "R" do you prefer? The one with the straight, or curved leg? I'm split, because personally I much prefer the straight leg, but curved seems more consistent with the rest.
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The term "sidereal" (/saɪˈdɪəriəl/) refers to a measurement of time based on the position of stars.
Industrial, geometric, display, extended, modern, uniform weight. Based on a 2-brick tall grid. Inspired by Microgramma/Eurostile and the Terminator logotype.
"Prototype" means that this is not the final verison. In this case, FontStruct has been used as a fantastic preliminary design tool. But due to its limitations, the font will have to be reworked. Not by much - only the ⅝ roundings will be made circular in a traditional font editor, I'll be introducing optical improvements, and real kerning will also be implemented.
FontStruct's kerning tool is extremely rudimentary (understandable), and honestly, because of that, I left the kerning in a really messy state, it's kind of beyond repair at this point, as I don't really know what's what anymore. Oh, and also - due to limitations of the nudge tool, the ampersant (&) is offset to the right by half a brick, I tried to fix it with kerning as well, and it kinda works, but that will be fixed in the final version, outside FontStruct.
This is a cloneA tech-like font inspired (one more time) by some glyphs from Insider Bold, a work by the prolific Dmitriy Sychiov.
See more:
https://fontstruct.com/fontstructions/show/1604109/dojin
https://fontstruct.com/fontstructions/show/1511659/stf-a-s-c-communications
This is a clone of TLoF Pixelhttps://fontstruct.com/fontstructions/show/239418/volume_metric_lo
This is a clone of TLoF NatureWork in progress …
Planning only to track down some bugs in the FontStructor, I was suddenly struck by similarities between the random shapes I was placing on the canvas and images I had stumbled upon recently on the web – I think it was in this article in the Guardian.
The images were of Peter Womersley’s modernist design for “High Sunderland”, fashion designer Bernat Klein’s erstwhile home, near Selkirk in Scotland. I wasn’t at first drawn to the modernism, but to the promised description of the experience of living in a house which was visually so open to the outside world – although ultimately the article wasn’t especially enlightening on that point. Later I found more extensive sources of images of the building on the web.
Working on this was the first time in quite a few years that I have been possessed by my own, earnest FontStructing rush. I was very pleased to find that the FontStructor tool still works as well and simply as it ever did – allowing for a uniquely swift and unimpeded creative progress through a set of modular glyphs.
The basic grid for each letter, based on the characteristic modules of the building, is topped by a slightly heavier bar and so slightly asymmetrical in the vertical, like the structure of High Sunderland itself, but it is essentially square and consists of six parallel horizontal bars.
In the FontStruction, the emphasis is on these crossbars – with every effort made to avoid partial horizontals and additional vertical lines, especially for the basic latin alphabet. The font is essentially unicase, with some variants in the lower case.
At one point I noticed that there are some window panels in High Sutherland which do have a single, thinner vertical divider (for sliding open presumably) so I used this for the middle legs of the M and W. After completing the initial FontStruction I also noticed in photographs of the building that there is at least one window with multiple vertical subdividers, so maybe that can form the basis for a new grid and a new FontStruction (High Sutherland B).
Things started to get fun for me when I got into the punctuation and accented letters. I saw no alternative to adding additional verticals for the hash, the percentage sign and some other glyphs.
I really like the percentage sign, although I’m not sure how legible it is – but I guess ultimately that it is an issue with the whole font.
When it came to glyphs with unavoidable diagonals – such as the slash glyphs – I went for a stepped approach, which I think is basically a good one, maintaining the emphasis on horizontal lines, and suggestive of musical notation – but the steps are a bit sloppy. I probably need to revisit them.
I’m not sure about applications for this FontStruction. Maybe it would be useful to someone intending to erect their own mid-modernist dwelling in the hills, or to someone planning to put up some new shelves!