A very versatile unicase tall sans-serif font.

It can be deformed and stretched to make it taller and give it a barcode look. Suitable for logo design and decorations, its unlimited visual power will blow your mind. It can be strong, minimal, serious, playful, techno all in one. Give it your touch and see what it can become.

Contact cosmic.kyou@gmail.com

Oxygen missing

So anyway I got this technical and geometric font from my workbook. Hope you enjoy it. Let me know where you will use this.

Credit to Carl Kinsley for the patent

This is based on Carl Kinsley’s Fig 12

Inspired by Richard Kirk's figlet 3x5

16 segment font for lifts

If you want monospace (more suitable for lifts/elevators) set spacing settings to 17px Mono otherwise 0px Global

For Oblique (more realistic and common), skew by 10 degress clockwise.

Supports Basic ASCII only. Greater/Less than symbols (< & >) are like that so you can construct horizontal arrows like <---, ---> or <--->

Many times when I wanted standardized font for a drawing, what I found did not have some of diacritics. So I made me my own backup, that follows the norm for vertical letter form B where it is possible with some compromises.

Still work in progress, cant find way to make smooth zero or brackets with large arcs.

Diameter sign: U-2205, square root sign: U-221A

A basic sans serif font for coding, meant for small sizes (and it would look good in large sizes too, if it weren't for those pesky parentheses...)

LSans

666 characters

VOLLE BUISJES — Geometric sans-serif style
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[ INTRODUCTION ]
This font had derived and materialized from my previous FontStruction called Buisjes, and had innitially been planned to be made into this “solid”-style instance that would've then were to be combined and included to the original master font. That idea was later canceled when I decided not to make this part of the “Buisjes”-typeface.
I still went on completed it though, but I was now simply treating it as this unrelated new font instead.
The original “outlined”-variant still stood testimony in this second stage of development, as it served as the global basic backbone for this. But, since it now no longer was bound by accurate representation I could start utilize more dynamic sculpting techniques and make minute adjustments that incnclude some optical corrections, as well as implementing a slight more polished looking geometry.

[ TECHNICAL BACKGROUND ]
I took a clone from “Buisjes” and started modifing it into this new solid style. What I basically did was utilizing the “brick swap”-method in the FS-editor to replace every brick inside the font's “My Bricks”-palette. By doing so, essentially converting the font one-brick-at-a-time into this 1 : 1 conversion of its source without making any additional changes to the actual glyph-contours.

After a while due to some undesirable result that came from replacing the original bricks the design took a different turn when I started realizing that making an exact 1 : 1  conversion into this solid style wouldn't generate the most desirable looking font. This new solid version that was rendered from the “brick swap”-process seemed to have several optical complications, that when compared to the original outline version, had quite the different effect on its physical properties as well as the aesthetic quality of the letterforms, and had far less visual appeal. These newly presented optical misfortune also had a direct negative effect on the font's legibility. In oder to gain a better understanding as to why it took a toll on legibility some additional thing needs to be explained first, to make sense of it all later. This explains in short the visual effect of added contrast that comes from that “bi-linear”-characteristic nature of the outline version, which employs so much more emphasis to the font's overall geometric properties of various form, and therefor to the contour shape of a glyph. In return this has a direct impact on the overall effectiveness of these forms.

The reduction of this additional contrast within the font's “positive vs. negative”-whitespace balance for the solid version results in a letterform that has a rather weak representation of its several typographic components as well as for each of the individual letter-parts that form a whole, which also help to distinguish one letter from another. In simple words this means that a solid style lacks a lot of that emphasis that is present in the the original outline version, and makes for a far less pleasant and effective font.

Another issue I had with the 1 : 1 identical conversion was the unanticipated but pretty drastic deterioration of its initial “wow”-factor in the solid version that was generated. No longer beneficiary from additional added value that came with a more “decorative”-characteristic that  is present within a outlined glyph contour. Also the “bi-linear”-nature of the outlined letters sort of gave the impression it was putting double the emphasis to the typographic parts and the geometric properties that make up each letterform. The rather squarish “box”-like characteristics of the lettering became much more evident in the solid glyph face. Shifting visual focus from the previously more ornate display attraction away towards this more “mechanical”-style that is this rather plain and somewhat shallow looking flat faced letter.

All of these were things that worked out just fine in the font's outlined version, but not so much in terms of a solid “filled”-like style.

Here are some of the things that cause trouble within an exact  1 : 1  conversion into solid bricks:

 • Enclosed typographic elements render much thicker than what is considered “acceptable”
(requires optical correction)  

 • Diacritics render too thick and often too big
(requires a complete re-design)  

 • Radius of FontStruct's default solid circle arc connection brick is too small
    ‣ Making a solid font constructed from these to look compressed
    ‣ Arc intersection point not sitting deep enough
 • Reduced emphasis in depth of geometric form
    ‣ Simple rather “feature-less” and “squarish”-looking geometry
(both requires numerous custom composite bricks in order to break-away from these constraints)

— The combination of the above in terms of the appropriate adjustments required to make optical corrections in order for it to have balanced proportions will have such significant impact to certain aspects of the physical presentation of the letterforms that they no longer share that seamless overlapping cohesion, and it couldn't really classify any longer as being this solid / filled style instance to the original master font.

That wasn't all (LOL) but yeah I'm done typing for now!

Hope you like it, more info follows..

Cheers

Download this font only in Mac

Unicode® 16.0.0

Unicofonte is a sans-serif typeface which is designed by marcot_0425, not_cake, & Sed 4 type foundry for the Fake Bézier curves(geometric shapes only).

Latest update (v7.0.0):
 

March 3 at 11 a.m.:

Updated Cyrillic Omega Titlo and OT

Updated L with accent marks (especially L with stroke [small] as it looks like a T)

Fixed u0020 (spacebar)

I've updated tone six (looks like a cyrillic hard sign)

I've updated Cyrillic multi-eyed o (10 eyes) and F with stroke (Ua798) (looks like French franc symbol)

Fixed some bugs

Fixed all Latin extensions d character (a7d5) and medival exclamation and quesion mark（2E53-4）

Fixed Thorn with stroke

i used a diagonal brick to make it

Sun 24 Dec:

Today I added latin/greek/cyrillic unicode 16.0 chars

26 Dec 2023:

Better Kerning

Fixed most of the errors that I found

this font helped me get into Pratt

I WANTED TO CREATE A SIMPLE FONT WITH HEXAGONS. IT TAKES A LITTLE IMAGINATION TO RECOGNIZE THE LETTERS THEN IT'S PRETTY GOOD I THINK. 

FEEL FREE TO USE THIS FONT IN ALL KIND OF PRIVATE AND COMMERCIAL THINGS AND OTHER ART IN THE UNIVERSE.

LET ME KNOW THIS. PLEASE COMMENT.

YOU CAN'T SELL THE FONT DIRECTLY. PLEASE DON'T MAKE ANY KIND OF COPIES.

FEEL FREE FOR DONATION AND HONOR MY WORK.

PAY PAL DONATION RALF.FILLINGER@VODAFONE.DE 

THANK YOU FOR USING THE FONT AND HAVE A LOOK TO MY OTHER FONTS. 

BEST REGARDS 

RALF

Font inspired by the 7-Segment display.

Trying to achieve maximum readability and symbol differentiation within a reasonable size.

The binary version of each symbol turned vertically.

Not all symbols could be added because they have more than 8 bits of data.

Obviously not very readable, but good for decoration.

Graphic is a simple font that is best used for big text.

Clone of Segmented x11 with extended content.