Opening day of Marvel's Spiderman: Across the Spiderverse!
Timing has been off as of late, with FontStruct error messages of the server being down, but only for this particular font. Other software has also been uncooperative. But there is a universe where everything went fine and there were no problems, but this isn't that one. Weird things also happened with saving the font, where after saving, it just decided to do a global brick swap. Posting it with glitches and all, and I'll fix it later just because. And I swear I hit the Publish button, but hours later, it still said it was private. Let me try again...
This is a cloneWhen I first saw jonrgrover's Wiggly Wumpus, I told the author my first impressions about the font. After a few days, I finally decided to do it myself, and that's how these glyphs you see were born (thanks for the creative impulse, Jon). Achieving a smooth, sinuous curve has been a bit more laborious than expected, and there are some letters of complicated construction and I'm not 100% happy with the current look of some of those. But here they are, dancing infront of your eyes as if reflected in a fairground mirror. Btw, "Specula risus" (latin) means "Mirror of laughter", that kind of mirrors that visual and comically deforms our bodies... Hope you like them.
This is a cloneOpening day of Guardians of the Galaxy Vol. 3!
Celebrating with a spacy star filled background texture, bombarded by comets infiltrating multiple dimensional planes of existence. "Guardare" is Italian for Guardian.
LUCERNA — Neoclassical stencil serif
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Lucerna is a modern neoclassical stencil serif in the Didot style.
Simple & Elegant...
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Created primarily with the focus towards luxury fashion and marketing brand-oriented projects, aiming at luxurious and sophisticated design projects.
Although it’s a true and fully functional stencil, design focus wasn’t so much
concentrated around the 'functionality' part of the stencil concept. Instead it was more focussed on the stylish implementation of the concept and on making sure it looks pretty.
The stencil concept was achieved by way of stroke omissions. Some of which are large and drastic, leaving only critical parts of the stroke intact, while others are more subtle, like those detached crossbars or cuts seen in the hairlines.
Thin transitional bracketed serifs and a mixture of various sized teardrop- and pointy terminals, combined with the high stroke contrast, these make up for a sharp and interesting looking font that provokes this thoughtful stencil letter concept.
There is a lot of subtle dynamic height deviations going on, hoping to tune in to more of a lively rhythm, and introduce some playful characteristic properties.
Minute changes to optimize optical performance have also been implemented, such as overshoots. The relative low cap-height makes up for a somewhat short and stocky uppercase quality. Its accompanied by a relatively tall x-height that results in a fairly large lowercase size. Due to the lower cap-height of the font, the short ascenders parts of the lowercase letters still exceed above the Cap-Line, preserving some of that otherwise lost white space, improving legibility.
The design's missing segments and various random detached bits 'n pieces aren't as functional in smaller sizes. Making it harder to read or distinguish detached letter elements from puntuation marks. So it is best used for display purpose.
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A small number of glyph alternative forms are included as well:
• 2 forms of lowercase letter a:Single-storey and double-storey (default).
• 2 forms of upper- and lowercase letters Ss:Pointy terminals (default) and teardrop terminals.
• 2 forms of upper- and lowercase letter Tt: Uppercase letter T has two variations of pointy terminals, normal angled and extra angular. Lowercase letter t has alternative form with teardrop shaped terminal to use at the end of words, and can add a slightly more stylish look. The default version has better proportional width with just a small non-decorative curved terminal, this default form has smaller width for a improved horizontal text advance.
• 4 forms for lowercase letter g:Just 3 additional extra slightly alternate forms.
• 5 forms for lowercase letter f:Bracketed (default), curved, teardrop narrow, teardrop extra narrow, teardrop wide.
• Extra set of Copyright symbols:Cap-height size and x-height size.
• 5 forms of Pilcrow symbols:Just 4 additional extra alternate forms.
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It covers most basic Latin languages, 65 in total so far.
Several symbols and punctuation marks are included. (probably more later)
I hope you like it so far,
Cheers
This is a cloneUNION WEST (Display) ― Classic Wood Type inspired slab serif
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This is the 'Display'(bold weight) version for the "Union West" typeface family
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[About the "Union West" typeface]
The idea was to craft a typeface that resembles a vintage wood block lettering style. The design is a sturdy looking geometric form with small wedged slab serifs, straight beak terminals. It comes with two weight versions, 'Display' and 'Text'. The Display version is a bold style that has medium weight contrast and aims for headline use, the Text version is a thin style with only mild weight contrast that is heavily condensed and aims for body copy use.
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➥ More characters will be added within the following days.
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The other font in this family is found here:
UNION WEST (Text)
I hope you like it so far, let me know what you think
Cheers
Font directly inspired by Cookielord's "Gargantua". That's why I thought of calling it "Pantagruel" (remembering the name of the other gluttonous giant, son of Gargantua, immortalized by the writer F. Rabelais), but it didn't start with z -hehehe :) - and I chose "zampatoo" (wich could mean something like "eat-it-all"). The final result has lost the rotund, forceful and fresh aspect of the original, but has retained some of its overall heaviness and massiveness. During the process it has also gained some curves. Risky font. Good for headlines, bad for body text. Extra "tt" ligature at the "fl" glyph. Hope you like it. Yummy, yummy... :D
STF_NEUE ISAIAH - 70's Art Deco / Streamline style typeface
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Most of the design credits for this font should go toIsaiah Garciasince I took the liberty of revisiting her fontstructionFS Idea
Please check out this member's awesome contributions here:Ivy Meadows (Isaiah Garcia)
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[THE PROCESS]
The one major difference between the two works is the grid size and construction method, Isaiah's version was made using a faux-Bézier approach (very labour intensive) and requires a fairly large design grid, whereas my version is a small grid design, utilizing the circle arc bricks and composites to achieve smoother contour quality, and was done on just a 4x7 grid using 2:2 filter.
This different approach and limitations in small grid designs have led to a number of small changes for certain glyphs. Also have I change some details slightly to my personal preference. But it remains very much Isaiah's design.
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[THE FONT]
I tried to remain as faithful to the original font as possible, and in addition tried to further expand the character set. Most important differences made in my revision are the additional lowercase chatacter set (spurred strokes), the uppercase alternative forms / lowercase alternative forms (spurless) and extra symbols.
Enjoy!
This is a cloneLORD KRUMBLE —A transitional sans that mixed Art-Deco with neo-classical humanist minuscules
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Inspired to celebrate the homecoming of him who strikes fear in all badly baked treats, the one which nightmares are made of, that kind of person that makes every cookie crumble and wanna skip school for a day or two. Of course I'm talking about the one and only "Cookielord".
— "What could'nt be better suiting than to have a freshly crasfted and new font that is celebrating his return."
Him recently dropping a new FontStruction somewhat came as a pretty unexpected but nice surprise. It just so happened to be that I was already looking for new ideas that could lead to the next project. In fact, until recently I was actually still struggling with this, and hadn't really been able to provide a catchy and motivating design theme to bring to the table that would once again help me on my way with starting a new FontStruct project. So I took this occasion to see if I was able to find a little inspiration in his Verminfont. Not particularly aimed at doing a derivative work, nor anything closely resembling his cool font. Instead rather trying to draw some inspiration from that peculiar and playful but friendly characteristic, that to me personally distinguishes his Vermin font the most anyway.
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And so I appoligize for the fact that this doens't truly relates or do justice stylistically in any way to the aesthetic present in Cookielord's original Vermin font. That being said, this is what became the end product of that.
But, it does have one striking resemblance that pays a homage to him, and that is the included cookie. Sorry I took a bite out of it my friend, hope you can still appreciate it.
— Just to let you know that regardless wether you decide to stay or not, your recent return isn't going to be for nothing!!
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No 'Brick Size' filters were used, which of course presented me with a lot of challenges that limited the amount of complexity I was able to put in, something that wouldn't been the case with (2:2) 'Brick Size' filter settings. The other noteworthy aspect to this particular fontstruct is its grid size, which is tiny. Never before have I made a Fontstruction that required kerning values to fluctuate only as little as 0,01. This also made it impossible to implement optical corrections on the vertical axis in the form of overshoots, but luckily this didn't became a very clear issue in the end.
I'm not sure if I can complete the additional Latin accents for all characters due to the limited grid space available surrounding some of glyphs. I might try doing those later.
Let me know what u think of it so far fella's, stay tuned!
Cheers
Started this font on a whim on the phone while having my morning coffee. The first version of the uppercase letters was done in the time it took to finish drinking it. Worked on it off and on during the day. Was done by evening. The sample probably took longer than the making of the font.
Thanks, fontstruct.
A — single-story “a”;
B — alternate “a”;
E — alternate “&”;
H, I — double-story “g”;
P — alternate “r”;
C, G, L, O, R, T, X, Y, Z — alternate “c”, “l”, “o”, “r”, “t”, “x”, “y”, “z” respectively;
Shazamurai! Opening day of Shazam! Fury of the Gods. Almost missed this one, but had an old lightning based font that matched. Plus, AI graphics is like soooo much cheating. WIP, couldn't decide on spacing so kerning had to wait.
This is a cloneIt's called ajicis because it is built upon the letters done for the wallpaper of Wipeout 3 game team AG Sys. It has the same grid structure but the letters look nothing like the original.
Also, this FS'tion was started on the phone (because I was too lazy to get off the bed and go to the computer). When I saw potential in the created letters, it was saved and opened on the iPad. The rest of the fs was done there. The only thing that couldn't be done on the iPad was adjusting of a composite brick. (It was fixed on the laptop days later.) So, 98% iPad.
@RobMeek: The iPad version worked well. However, Menu->Edit->Copy, Menu->Edit->Paste, etc. got tedious. Can we have the menu commands in icon form docked or floating somewhere on (in?) the tablet version? The icons can be half the size of the Tools icons to save space. Also, can the tools and zoom be docked as well on the tablet version? It would be helpful. Thanks.
This is a clone of tm ajicis originalwithered
Special characters: < (My OC's head), > (A heart), § (FS, though it may not look like it), Capital A with ring under it (alternate glyph for a)
Feel free to use and/or clone.
Fun fact: this was originally named percentage, but I changed it so it fits the style more
The nudge tool was used for some glyphs, like the dollar sign and yen sign.
The "Make Composite" tool was used to make the gradient effect.
Currently working on Katakana
STF ELEGANZA (Tall) ― Contemporary geometric humanist sans
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A font style, that while simplified by old tradition, saw new light by modern sophistication.
It comes in a solid medium weight that is very suitable for body style text with good readability, but it does perfect clean headlines or ads as well.
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The goal was to make a clean but somewhat more contemporary and playful take on a 'Grotesque' sans-style.
In an attempt to break away from the traditional trend of Grotesque type designs which evolved more around pure geometric shapes and aim for perfect circular, triangular or square shaped letterforms, that in return give many of them a somewhat harsch and featureless mechanical appearance, I choose to try and achieve the opposite, aiming for a softer, friendlier and more humanized feeling instead.
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Dimensions: (in grid units)
X-Height: 2 .625
Cap-Height: 3 .125
Em: 3 .5
Brick Size filter: 2 : 2
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This is the 'Tall'-style in the 'ELEGANZA'typeface family. This version somewhat strays away from the other two variation instances. Whereas the other versions had a simplified look, this version aims for the oposite and has a much more rich and diverse typographic design. Countless subtle extra little details have been incorporated into the design. The tall and condensed style provides a luxurity look. The main purpose for this version was to provide another level of visual depth and flair into your layout.
Some of the main differences made in this 'Tall'-style are the more complex geometry, other X-Height to Cap-Height ratio, extra characters and the introduction of optical compensations.
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The other style variations can be found here:
ELEGANZA (Tight)
ELEGANZA (Therapy)
I hope you like it...
This is a clone of STF_ELEGANZA (Tight)Opening day of Ant-Man and the Wasp::Quantumania! So of course, this particular color font needs to emerge in this space and time. Spinning of the concept of quantum tunneling and Hank Pym's Quantum Tunnel van, this font spans multiple realms simultaneously. Shift dimensions at your own risk.
Thanks to ETHproductions for the improved curve finish. There is a second "s" (slightly more rounded) and an alternate curvy "y" placed on the "fi" and "fl" glyphs respectively.
This is a cloneSTF GROOTESK Pro ― Contemporary geometric grotesque
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A clean and geometric grotesque sans-serif typeface that is equipped with tons of extended professional editorial typographic features,
such as:
Multilingual support in 3 script writing systems for 113 languages, glyph alternative forms, stylistic ligatures, accents and punctuation marks, symbols, technical, ordinal, pictographs, additional dingbats.
15164 stored kerning-pair and many other professional features!
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[ TECHNICAL ]
■ Metrics(in square grid units)
5.0-Em / 0.5-Stroke
2.0 : 2.0-Brick Size Filter
Em-Square: 5.0
Cap-Height: 3.25
X-Height: 2.0
Ascent: 0.875
Descent: 1.0
Overshoots: 2 × 0.0625 Top/Bottom - (uppercase only)
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■ [ ADDITIONAL EXTRA IMPORTANT RELEASE NOTES ]
Previously published as a (non-Pro)-version with the same name.
But when that version eventually corrupted, it rendered it useless.
And after several repair attempts the innitial isolated "FS-editor" native
brick corruption eventually was fixed! But from this point onward all theFontStruct-generated-*.TTF-files downloaded from this particular FontStruction delivered a broken TrueType-font file, that upon its installation process resulted in having a error. Leaving me, or anyone for that matter who had downloaded it, unable to get it or its updates installed.
So after unsuccesfull struggling for a while I noticed that the cloned version didn't generate a broken *.TTF-file. So I decided to terminated the original FontStruction and delete it.
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■ [ DESIGN INFORMATION ]
The main inspiration came from those early to mid-20th century geometric grotesques, and visual environment of that era.
Although the characters were mostly geometrically constructed, and remain as close as possible to basic geometry, "STF GROOTESK Pro" includes a blend of stylish hints of hand-crafted lettering influences and intentional irregularities in order to tribute those classical geometric designs.
For extra additional emphasis the design tries to take advantage of a rather unusual vertical Uc>Lc proportion, with ascender parts of the 'Lc' characters sitting well bellow the cap-height, making the 'Uc' appear strikingly taller in comparison. Essentially providing the uppercase with a more "Condensed" feel. Some of the other characteristics of the design are it's sturdy and stylish yet clean presence, with little to no contrast, and it comes in bold style only. But to compensate for the lack of extra weight versions there was some serious time invested into additional testing and optimizing the entire typeface. So it is super well mastered and therefor extremely versatile.
That being said..
Looks can be deceptive at quick first glance, and this indeed might appear as being a very basic looking design. Even though this in fact is far from being just that other basic looking display sans, nor your next boring geometric grotesque!
From a FontStructor-perspective point-of-view I recommend to take a more ‘close-up’ view of the design's finer details. This creates a better understanding and greater appreciation for the extreme level of complexity that is present in both form and function.
Zooming-in on some of the letters would reveal the font's subtle, yet nuanced diversity of that 'previously' hidden underlying personal characteristics that usually remain invisible in text format at smaller point size. Now suddenly just its overall care for finer detail and overall quality within every bit of the design, the tons of custom shaping, stroke transitions and additional smoothing will gradually emerge as zoom levels get ever deeper. At its deepest level it will even shed some light on the surgical stuff that mostly works invisibly and without the awareness of its reader.
A display typeface at it's core, still it performs equally great in very small body-print text or web design application, as it does too in larger format for headings, ads or branding.
Thus providing, this very function efficient and reliable work-horse,
a truly genuine "one style fits all" typeface powerhouse.
And there its no question whether this could hand out "a 'one-punch' K.O." of a Headliner, thats obvious. But this unyielding bumpy behemoth just as well takes u for the long run, effortlessly telling you fascinating stories.
Especially well cared for optimized rendering on a computer display device, and deliver simple yet versatile seemless digital typeset material.
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■ [ SPECIAL NOTE ]
A big thanks and 50% of the design credits for the lowercase 's' go out to elmoyenique
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■ [ "Pro" VERSION EXTRA'S ]
The new "Pro" version update for GROOTESK utilizes several TrueType smart-font features and control characters to map two or more glyphs for combining glyph composition.
Coloured version of zulu. You can use the second different version of each glyph to avoid repetition in some words. These colours are inspired by a 2010 poster from the Apeloig's studio.
This is a clone of zulu eYe/FS