My little personal and humble tribute to our Astonishing FontStruct on its 16th birthday, full of admiration and respect for the Great Creator & Big Chief Rob Meek and all fontstructors, big and small, who used it during these amazing years! LONG LIVE FONTSTRUCT!!!
Based on the font 'Kettler' (Eric Olson, 2002), which in turn is a tribute to the great 'Courier' (1955) by Howard "Bud" Kettler. As often happens to me, this recreation was born from the attempt to improve some characteristics of the original glyphs that I considered appropiated, in addition to being able to have a personal modern typewriter font. The monospace of this kind of letters has been a bit relaxed on this occasion. PS: Thanks for the helpful hand from @Sed4tives!
This is a cloneGr4ftY presents:
SCORN
“Does this font look trustworthy to you?”
This took a while to make but I’m very happy with how this turned out (even though this is far from finished!)
If you have any suggestions for improvements, please tell me in the comments and I will try them out if I can.
❤️fs
TEFlonALuminium — A contemporary geometric sans-serif
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Inspired by the brand logo for French kitchen and home appliances company 'Tefal'.
The font is an extrapolation from the five letters that make up the original logo. I have made some small changes to certain characters to make them more suitable for a full font and body copy text format.
I hope you like it..
Cheers
This is a cloneShorter externsion variants for letters can be found at their lowercase equivalents. No extensions can be found at: A - @, C - o, E - {, G - }, H - #, J - ], K - \, L - [, N - %, Q - ^, R - `, S - $, X - ~, and Y - |. An underscore can also be used to make the extensions longer.
Gr4ftY presents:
Foundry DS
inspired by frodo7's most recent work, this is the result of me trying it for myself. Still, this is far from perfect, and any help would be greatly appreciated.
THIS MAY BE EXPANDED APON IN THE FUTURE.
It's silly (but I couldn't get it out of my head): This is the font inside zignbox. Absolute negative space use. Unicase with alternates, of course. But it works well!.
This is a clone of zignbox eYe/FSTwin brother of zeronda, with more spectacular and rare large serifs. This font is a pretty little thief to me: with its big serifs it stolen my hart. It was love at first sight, as soon as I started I couldn't stop adding them to the glyphs. Only caps/unicase, also includes an "a" and "e" alternates... and a little "c" in the "¢" glyph. Kern in progress. Enjoy.
This is a clone of zeronda eYe/FSa little something I had in my head for quite a while already, finally decided to try and make it in Fontstruct.
No kerning done right now, but maybe some time later I'll do it. though even without the kerning it looks nice in my opinion.
Feel free to clone and see how it was done. (some glyphs like { are quite messy though)
also may redo some glyphs in the future.
UPDATE: cyrillic done
Inspired by Briem Script.
I am very proud and happy that I have been awarded a staff pick starfish. ⭐️
Arabic is basic, only Arabic and Urdu are supported. Alternate samvat forms for 2, 3, and 5 digit years are in PUA. If you wanna remove the notch in the U+16AEC, then use U+E000.
Only lowercase Georgian mkhedruli is supported.
My ratings dropped from 9.10 to 8.57??? omg these trolls are ANNOYING
@AFontAbove No, this is Patrick.
Inspired by Interfacer. See also Zagato and Zagato Bold.
Looks like the Bauhaus style is trending on FS.
This is a cloneGr4ftY presents:
Bolden
Just a simple bold font.
feel free to give critique, as long as you have something helpful to say.
i would especially appriciate help with the greek.
thanks:
to @Kiên Trung for helping with the Υ
to @elmoyenique for helping with the y
to @Sed4tives for a bunch of bits and bobs here and there (c, t, and n, to name a few)
additional info:
X height: 5
Cap height: 8
letter width: 5
Filters: 2x2
TYPOGRAAF — Geometric modernist display typeface
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Typograaf is simple looking modernist style aimed for display use. It doesn't work well in a long line if text nor at smaller sizes. But perfect for large display work, logo's and such. The letterforms have several little nuances and multiple custom crafted curved parts with smooth (near) real Bézier contour quality.
So far only general concept plus some extra's was created, no multilingual suport for now.
Let me know what you think
Cheers
GROOVERIDER — 70's future retro display sans
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Grooverider is another groovy looking display style with that distinctive 70's retro aesthetics.
The concept for the lettering is that of a solid future retro / space-age style with inversed-stress. It's reversed weight contrast adds some additional groovin' funkyness and good old boogie wonder flavour to the font's overall characteristics. Making it somewhat of a hybrid mixture between two distinct 70's and 80's retro styles.
Simple at the surface, but rather complex down at the Editor level, since the letterforms have several tailor-made geometry and curve shapes. Pulling off some glyphs without disrupting the (near) real Bézier curve geometry was tricky I must say. Like for example the joined letters such as lowercase Æ/Œ, question mark, @ sign, number 2 digit, percent sign and lowecase letter S all proved difficult. But also some unlikely ones that are typically pretty straight forward now were trickier within the font's parameters. But I'm pretty satisfied with the end result so far. Little to no compromising imperfections slipped into the design, one or two real minor ones are present, but only truly become noticeable once the size is fully blown up.
It was very fun to make though, I hope y'all like it...
Cheers
This is a cloneOpening day of Marvel's "The Marvels" movie! Couldn't resist making a chibi version of Goose, the Flerken from the original Captain Marvel film. #StrongestAvenger
This allcaps font is meant to be used starting with a Capital letter, then lowercase letters following it. But no one will listen, will they?
This is a cloneA sans serif display unpretencious font with a slightly futuristic touch. Readable even at pixel size, although its legibility decreases somewhat when used for long stretches of continuous text. "ff" and "tt" ligatures available.
PS: My huge thanks to Sed4tives for his much appreciated help.
VON NEUHAUS — Geometric “Bauhaus”-inspired style
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This is the latest evolution of a “Bauhaus”-inspired constructivist style typeface design that originally started 5 years, or two font versions back.
To me personally this is a long awaited triumph, that has finally materialized after years worth of been haunted by this idea, and the crazy speculations about this ghost that would never be...
Well, that was untill now... So at last, I can now finally proudly present to you this latest of arrivals to come from this unforeseen series of typeface progressions.
This newborn addition is in fact the 3rd phase of this letter concept's evolution, and caused the font project to undergo a series of addaptations that graduatelly increasing the levels of sophistication possible by chaging it's internal structure and behaviour within the FontStruct-editor. This 3rd addaptation unlocks the FontStruct editor's “Expert Mode” full power potential.
Enabling all editor functionallity to provide the most versatile font creation capabilities available within FontStruct.
STF_BLAUHAUS was the font's very first version, created back in early 2019. It's the font's original concept as it innitially was first intended. It essentially started out as a personal study into the design of letters on a small grid. And more importantly, the creation of required composite bricks to do so.
The idea back then was to craft the most complex geometry possible without the use of any “Expert Mode” functionality whatsoever. Now, what this innitially did was still quite novel to me at that time, as this had led to the development of a FontStruction that was solely built from the extensive use of composite bricks. Not just a couple, but a staggering 272 composite bricks in total. Many of which in fact are quite intuitive and required certain amounts of careful thinkering with the maths found in it's geomtry to craft these custom brick compositions.
So as explained above, there was no use of any of FontStruct's “Expert Mode” functions. This meant that the option to nudge, flip or rotate any of the bricks wasn't available. Now this changes everything in respect to building complex fonts, since in order to get all the bits and pieces of a letter such as: crossbars, intersections, curves and corners properly aligned requires, a precisly fitting composite brick to be tailor-made. In terms of the FontStruct limitations, this cause the physical properties of FontStruct's brick composition tool to be fundamental as to how much complexity and refinement can be put into it's letter geometry. In other words this is fundamental as to how well crafted the design is going to look in the end, since there is no option to further manicure shape or form other than from within those bounds of the adjacent 16-brick-array grid squares of a selection for composition.
I've choosen to design the alphabet concept in this “Bauhaus”-inspired geometric style, simply because of the simplicity this style has in terms of its basic pure geometric forms. The final result became this simple and bold looking small grif display type with a “3-bricks” Em-size only.
but it had some crucial compromises that had to be made due to FontStruct's design limitations. Not terrible, but not quite perfect either.
One very important byproduct from this limitations as were described above was a huge collection of very intuitive custom brick compositions that offer seemless alignement and perfect fits, basically an extensive set of custom bricks that work in a very similar fashion as FontStruct's default “Connect” bricks.
Bringing us to the main reason for 2022's version of this font.
STF_BLAUHAUS (Plus) was the font's second version, and most recent state that it sat in for the last year, up till this now. In this 2022 version of the of this font design modification the FontStruct editor's “Expert Mode” functionality was introduced into the design. Hoping to further manicure some of these compromised critical area's in an attempt to see what refinements could be implemented to revise the 2019's original version.
Now that the option to nudge, flip or rotate bricks was available, new more complex geometric shapes suddenly became possible. This sparked an explosion of new characters and additional alternative forms. Although now the FontStruct editor got vastly more versatile and potent, it remained strongly limited by that still present 1:1 brick size filter setting. Nevertheless, this made possible a very substantial update of the older font, and allowed many new shaping capabilities.
STF_VON NEUHAUS is the 3rd and final evolition to have come from my earlier FontStruct endeavours; STF_BLAUHAUS and STF_BLAUHAUS (Plus)
This version basically saw the transition from a font only using 1:1 brick size filter into a font at 2:2 brick size filter settings to unlock all power potential of the FontStruct editor's “Expert Mode” functions.
I could now write another eqyually as long body of text, explaining what's new in this final version or which other improvements were made, or say about it whatever the hell I want, but I figure that the picture becomes even more apparent when simply comparing the 3 fonts from old to new, and see the evolution happening before your eyes.
Start with STF_BLAUHAUS, folowed by STF_BLAUHAUS (Plus), and witness the full glory of "next-level" FontStructing that made possible the last version STF_VON NEUHAUS.
I hope you like it,
Cheers
This is a clone of STF_BLAUHAUS (Plus)SPOKOYNOY NOCHI — 1920's Art-Deco style
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This is a simple monolinear Art-Deco unicase font. Upper & Lower case glyphs are the same sets. But in addition to the unicase (default style) there is a full alphabet of glyph alternate forms located in the Half Width And Full Width Forms Unicode block.
I done global kerning, but extra pairs are still required..
I hope you like it,
Cheers
BEACH RESORT — 1920s Art-Deco style
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Beach Resort is a tall geometric display sans inspired by the Art-Deco aesthetics.
It's condensed style makes up for a rather tall and narrow looking letter concept. The design is further characterized by this distinct asymmetric curve geometry. A tiny touch of stress was added on the vertical axis to create this gentle stroke contrast. The stressed weight of the horizontals automatically compensating it's optical correction issue.
— Only minimal kerning for now, more will be added soon
Hope y'all like it,
Cheers
BATAVIER (Pro) — Geometric display sans
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[ MEMOIR ]
Revision / revival of the geometric lettering seen on a 1916 Dutch litho poster for the Wm H. Müller & Co.'sRotterdam-London passenger service called Batavier-Line(Batavier-Lijn in Dutch) which was originally designed by Bart van der Leck(1876 - 1958).
The Batavier Line existed from 1830-1960, and was the oldest steam shipping line in The Netherlands.
[ UPDATE INTEL ]
A couple of small changes were implemented compared to v/d Leck's original lettering. Most significant is the upscaled Ampersand, but numerous other small cosmetic or optimizing modifications were made as well.
I completed the full alphabet plus numerals and included additional symbols and punctuation marks to make it a fully functional typeface. The lettering is all caps (majescule) only. Some lowercase letter locations harbour a glyph alternate uppercase form as could be seen in the original litho poster source. Another bunch of alternate uppercase forms and underlined “superior” small capital letters were located in the “Halfwidth And Fullwidth Forms” Unicode block. In addition to that it has accented Latin letters for multilingual support. Also two resized alternate forms for the Ampersand and two stylish ligatures have been included.
[ SUMMARY ]
This is actually the second revision I did for the litho lettering by v/d Leck. The first attempt was made using a (faux-) Bézier approach, resulting in a huge grid canvas (168 grid units / bricks tall monstrosity). This made it a lot of hard work to build and for some letters impossible to properly implement kerning since FS values only allows min. -10 / max. 10 of grid units for kerning.
As part of the endeavor to refurbish some of my older FontStructions STF BATAVIER was one of those that was in serious need of some overhauling as well. The problem it presented was the font's cap-height. It was actually so tall and impractical to work and / or modify, that the first revival attempt never really fully materialized beyond a basic character set.
A full glyph only fitted on screen with the FS-editor zoomed-out max. and my browser zoomed-out at 30%. At this scale not only the canvas grid lines in FS's editor all but dissapeared, but it also resulted in a down-sized brick (or 1 square grid unit) with on-screen rendering at only 3×3 pixels, as oposed to 64×64 pixels with the FS-editor's default zoom settings.
So imagine selecting a tiny 3×3 px speck when working the glyph canvas at brick level to modify glyphs... pretty much impossible. Now, the other situation wasn't a whole lot better. This had the browser's zoom restored back to 100%, making the glyph canvas at brick level “workable” again. But in respect to the cap-height this only renders a very small section of the glyph on-screen. Requiring a huge deal of additional canvas navigation in FS's canvas editor, better known as “Pan the view (H)”, which is done with the hand tool.
And well, as many of you will know, this is an absolute bummer When navigating (or panning) a glyph bottom to top requires 3 full canvas swipes.
So yeah, the only way for an extended version ever to materialize was to be rebuild it from the ground up at a much small scale, using very different measurement ratios compatible with FontStruct's kerning.
[ TECH INTEL ]
This second revision attempt successfully reduced the font's cap-height down to a comfortable 5 bricks (or grid units) tall and Em-square of 7 bricks total. Some optical compensations were implemented to certain elements such as stroke weight corrections and careful minute differences in vertical positioning of letter mid-section elements.
For now thats all Folks..
Cheers
SEADWELLERS — 1920s Art-Deco Sans style
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I was somewhat inspired to do a Art-Deco style lettering of my own after seeing the stylish Art-Deco flavored FontStruction Aquamarine by IronClaws
Other than that the two fonts remain unrelated and Seadwellers poses no resemblance to Aquamarine. Instead I sort of did a 1920s Art-Deco style lettering with thin geometric letterforms. It's comes as a Majuscule only and the letters have nice quirky width variations, with some letters appearing almost extended, while others are more narrow.
— The similar aqua-themed concept is merely coincidental.
Only basic character set!
It remains a WIP for now..
Cheers
MOVIEMAX — Groovy bold & roundish 70s display sans
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Moviemax is a bold display sans-serif that has a groovy 70s offbeat look. Essentially an all-caps lettering concept with simple looking letters. The basic geometry and inversed contrast with its soft rounded finish create an immediate endearing effect.
The default characterset comes as all-caps (unicase) only, with no glyph alternative forms. It has been completed with additional symbols and punctuation marks.
To make thing a little more interresting I have also included a full (A-Z) alphabet set of small-caps letter modifications with drastically altered proportions. Complete removal of the inversed stressed contrast to make a more simplified and cleaner looking minimalist letter style. Their size was also reduced to 50% of the cap-height (scale ratio ≈ 1:2), providing an optional alternative for the missing lowercase forms in the font.
To finished off this extra set of small capital letters, another additional full (A-Z) alphabet set of large capital letters was included. These letters have also been scaled down a bit to better fit with the small capital letter set (scale ratio ≈ 6:8 or 75% of cap-height).
The 2 sets include a slight more unique and stylized level of sophisticated characteristics to the font, and when used combined together in a mixed-case text format creates nice text capitalization.
These alternative forms are located in the Halfwidth and Fullwidth Forms unicode block.
A set of basic punctuation marks that align with the small capital letters had also been included and could be found in the Halfwidth and Fullwidth Forms & Private Use Area 2 unicode blocks.
I hope y'all like it
Cheers
This is just a silly unicase font with alternates, made with simple squares and triangles (and some few other bricks)... But the colours captivated me. I hope you like the result. PS: You can also find an additional colour space (if you need it) in the "|" glyph.
This is a clone