An earlier (1926) constructed alphabet from Jan Tschichold, based on a somewhat finer grid and a slightly less condensed uppercase and a bolder appearance overall.

With a caps-height of 17, reproducing some diagonals proved quickly to be between nightmarish and impossible, thus the fidelity is a bit less exact than my previous recreation.

For a digitisation that encompass both designs and offers proper alternates, you can look at Peter Wiegel’s Tschichold.

A "Serif Gothic-ified" version of gaspipe-style lettering from Ernst Bentele's "Schrift". Letterforms are based on the "Normal Oblique" version, but alternates for the "Outside-round/inside-square" and "Outside and inside round" versions are included.

Sans-serif Version (currently with extra shapes and symbols): ETC Gaspipe Sans

A gaspipe-style display typeface based on a sample from Ernst Bentele's "Schrift". Letterforms are based on the "Normal Oblique" version, but alternates for the "Outside-round/inside-square" and "Outside and inside round" versions are included.

Miscellaneous shapes and arrows are also included

I was initially planning on publishing only the serif version, but decided to publish this version as well for those who want it

My version of Jan Tschichold’s “Schmale Grotesk - Leicht und schnell konstruierbare Schrift” (narrow grotesque - font that is easy and quick to construct), from 1930.

Turns out it isn’t always “quick and easy” to translate a pen and straightedge approach to constructed letters into Fontstruct’s prefabricated bricks setting.

In expanding the glyph coverage, I tried to remain true to the spirit of the original self imposed limitations, both in terms of grid (e.g. the cramped space for the uppercase diacritics), and of tools (see the solution for  superscripts et similia).

The font covers all of Google Fonts Basic set and, given the c-caron present in the source, all of Czech orthography. I may try to add other Eastern European languages in the future.

There are many different takes on the same source (including for the visual identity of a museum), you can look at Serious, here on Fontstruct, or at Iwan Reschniev, for an extensive expansion in weights and typographic features.

As always, comments and suggestions are welcome :-)

See also Quick and Easy and New.

A completely unoriginal typeface, that make up for its complete lack of personality with an equally complete lack of consistency.

Enjoy.

Inspired heavily by dm Solidus (and several other fonts by demonics), and also by Modular Blackout Bold Condensed (now private, but you can see a sample here). More/less rounded alternates can be found in Latin Extended A. As always, suggestions and critiques are welcome. Thanks and enjoy!

(2017: This was another one that barely needed to be touched--the only edit I made was thinning the outer ring of the @ symbol from a full brick to half a brick wide. I'm getting toward the end of my collection of private but completely finished fonts though...)

Now superseded by

An attempt to use curves’ radius as big as possible compared to the size of the letters. Alas, obviously without any optical correction whatsoever. There are some alternate characters too. A more coherent version is Noptical (neé "Noptical short")