For reason lost in the mist of time, I wanted to do Cyrillic letters. Cyrillic text looks really cool written down, no? Maybe that was the reason. Who knows.

However, not knowing Russian at all, the nuances of the written script are unknown to me. Hopefully, I got at least some of the letters right. 

SANS SERIFSCO — Humanist / Neo-Grotesque Sans-Serif

A contemporary neo-grotesque sans-serif design with regular weight.

I tried to add subtle diverse and nuanced visual elegance while still remaining minimalistic. Most significant feature is the subtle stroke modulations, distinguishing this from a more geometric style.

Designed to be versatile and suitable for a wide range of different purposes and optimized for legibility in small point size body copy.

The font was constructed on a large grid using linear interpolation (also known as faux-Bézier method). This allowed the most freedom for constructing more complex custom forms, curvatures and all the various stroke modulations.
The font has a total vertical height of 88 square grid units, this is including all optical compensations, ascends / descends and accents.

I started this... more than eleven years ago (!), and changed directions at least a couple of times along the way, so perhaps it would have been better to start from scratch.

Anyway, I thought it would be an appropriate typeface for the holiday season :-)

Optical experiments continue. "ff" and "tt" ligatures are in the "fi" and "fl" glyphs. Hope you like it.

Accepting @lucapri's suggestion, here is zoubizz... now with lowercase!

Another unicase with alternates and also an optical experiment (this time based in a certain way on some works by the great Philippe Apeloig). Optional filled space placed in the "^" glyph.

INNERCITY — Geometric future retro display grotesque
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Geometric unicase display sans with a stylistic filled counter-like (Uc) set and monolinear 'bare-boned' geometric grotesque (Lc) set.

— Full alphanumeric dual-variant font !!
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Elmoyenique's "zenzura" (a very stylish work in it's own right, make sure to check that one as well) anyway,
His 'zenzura' font kind of struck me with a healthy fresh dose of motivation. In the past I've explored somewhat similar style designs, but none of those ever really got consolidated into the extensive and complete work Elmo delivered with his stunning zenzura.
So I decided to dig up one of my older such projects and see if this new motivational boost could turn 'half'-a-font into a complete piece.

Long story short, this update is the result of that venture.
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Where previously this project came in just one style (filled counters), with no additional glyph alternates. Basically a complete absense of the lowercase-string all together, and only very limited complementary set of symbols and punctuation marks were present. Neither did the previous version had a great deal of refinement in terms of metrics / kerning and overall horizontal distribution of type-set material.  So, it was nothing more than a plain doodle of the idea I had back then, that had to be preserved for a later stage.  
But being drawn into more recent projects at the time I eventually ren dry on motivation to fully finalize this I ended up publishing it in its rough state.
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ABOUT THE UPDATE:

The'bare-boned' lowercase is a somewhat futuristic geometric looking form, whereas the filled uppercase set has a strong retro vibe.  

Combined in 'mixed-case' it can make a cool optional decorative style capitalization for your text. Used in isolation the two styles (Uc, Lc) both could be used as two seporate fonts, allowing stylistic text hierarchy.

In addition to the stylish retro-like, and partially filled forms I included a glyph-alternative set that strips the letterforms down to their monolinear core-geometric essence.
The design of this set is characterized by the spacious, sharp and clear appearance, that looks slightly futuristic but fashionable still.

With this new addition being the more legible and clean form of the two style sets, I placed this variation into the lowercase-string, making this the default-style for the font.
For the numerals, symbols and punctuations, I tried to remain committed to the stylish filled nature of the uppercase set.

A full alternative monolinear and 'bare-boned' numeral counterpart is located in the 'Full Width' Unicode block. Two extra weight variations for the brackets are also included for a more precise personal preference..

— And so it finally could respectably considered being a full font after all.

Thats all folks.. Enjoy !

cheers

Clone with uppercase, altered characters, new characters, and updated more latin.

WARPDRIVE - Geometric Sci-Fi display font

This font is based off of the really kind of messy handwriting that teenagers have. I made this font through a phone and adjusted the block with and height so it is easier for the strokes to be continuous.

No copy paste used.

Another optical experiment, testing border areas. Sorry if sometimes it's a bit hard to read and it shakes your vision, but that was the idea. It has only been possible using the colour options available to FontStruct Patrons. Thanks once again to Big Rob Meek. PS: "2 in 1 font", the black version of the SVG file also can works like an usual B/W font.

BOUWHUIS - 'Bauhaus'-modernism inspired minimalist geometric sans
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I am in a Bauhaus-vibe last couple of day..
So here is yet another venture into the
modernist minimalism aesthetics of the previous century.
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This Font losely draws on the basic concept for the 'Universal Type' that was originally designed by Bauhaus student Herbert Bayer.
It's basically a hugely inspired tribute to Herbert Bayer's several forms of   ―'Universal'.
But I want to be clear on the fact that this isn't a revival of the original alphabet or anything along those lines for that matter.

Instead it is a intermingling personal interpretation of his multiple works and ideas. Attempting to merge this recollection of Bayer's rational 'functionalist'-approach towards combining aesthetics and function, as by which he is answering to the 'Bauhaus'-philosophy and the 'Form follows function'― design principle.

But besides being a 'inspired' recollection, still the main focus for this FontStruction was to come up with this personalized and stylistic derivative version that pays homage to various of his original work. Unifying the various characteristic Bayer idea's-n-bits within my personal visual representation of the general concept into a new piece.

For it's primary style-concept I envisioned BOUWHUIS being something fresh and somewhat different from the gross majority of similar inspired works out there. This led to the decision for going with a more contemporary and modernized (― as oposed to modernist) style lettering.

In addition to that I pursued a much more vibrant and nuanced typographers sensitivity towards letterform calligraphy and decorative features.

Strong geometric core elements of the font make up for a expressive simplistic structural basic form and it has 'zero' stroke modulation for thickness.

It's regular weight combined with that predominant circular and square-based geometry of the letterforms result in this 'open', and overall ventilated characteristic of the design.
The typical crude appearance that usually comes with a strong geometric sans like this was compensated for in BOUWHUIS by the design's subtle deviations in form and the various decorative calligraphic letter-components.

Something that completely denied Bayer's principle in approach to modern typography and to create an "idealist typeface" was; The reintroduction of it's uppercase letters.

Part of Bayer's rationale was to simplify typesetting, strip all that he felt was unnecessary or the typeface had no need for in order to function, till there was not much more left than just the nearly bare-naked form.

It seems that unintentionally some innuendo of Art-Deco―flavoured hints also found their way into parts of this design.... ―Hmmmz

― but I think I like them, so no worries on behalf of that

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As a little bonus topping it all off there is also a super tiny experimental lowercase caracter-set  (X-Height=1 grid unit)  

Located in the Unicode block for "Halfwidth and fullwidth forms"

I hope y'all like it so far, more will follow soon.

Cheers

Added Uppercase, Switched lowercase Y for alternate letter, Fixed desenders of lowercase Y and G, added punctuation.

Xtra Black font. Inspired by some works of the great Loyalkaspar Studio.

from stp hallowen hack

EPOCH - Modern light-weight geometric display sans

───── 「 MEASURES 」
(in grid units)
X-Height:                       １
Cap-Height:                   ２
Descent:                         １
Optical  Corrections:       None
Stroke:                            １／８ ｔｈ
   
 4－Ｅｍ ／ ０.１２５ : １－Ｓｔｒｏｋｅ （０.１２５ ≍ １／８ ｔｈ）

― No filters used.

───── 「 SUMMARY 」
This is yet another deep dive into the very small and tiny quantum realm of FontStruct's small grid and light-weight stokes.
Unlike some of my previous endeavours into this dark corner of the FS-editor, which could have dizzying complexity in forms, this project for once didn't stress the sh....*t out of me by stretching the limits for my capabilities beyond what is still comfortable this time. Nor did it drain every last frigging bit of my knowledge or clever creative insight to pull it off.

On the contrary,
For once it remained largely a pretty straight forward and easy project in terms of forms and geometry. The absence for most of the 'bar-raising' features such as diagonal forms, rounded, transitions or stroke modulation made this 'FontStruction' that much more easy.

And when metaphorically breaking it down to the bare naked form and necessities, this design mainly consist of FS's (default)-brick set, resized modifications of those, combined with a set of stacked composites.

There a still a number of things I'd rather seen differently, and will see later attempts at making improvement, but taken in a broad perspective most of the included material so far look pretty fine to me already. And to point out one of the things that is still bugging actually are the 'accented' letters.
Some glyphs have odd values for their 'character'-width, and this makes it impossible to achieve 'grid to em-square'-bounding box allignement in FS's editor. So accents in these asymmetrical values look slightly ofset.

― "Changing character widths to nearest even value is simply far too destructive to the stylish characteristics of the fonts appearance"

───── 「 ABOUT  THE FONT 」
In the end it became a pretty cool looking light-weight geometric modernist sans-serif style that at the same time has strong hints of Art-Deco-style lettering as well.

And apart from the minor things it fell short with, I think there is a lot about its overall character-set design and forms that is looking pretty darn rad actually if you ask me.

Content-wise the font is a single case design in a 'all-caps' or Majuscule style. The (Lc)-string was kept empty for deliberately for the technical reason of preserving all the (default)-blank metrics data for any further design updates.

───── 「 WHATS INSIDE 」

A little bit of everything...
 
■ Body text formatting:
    □ Basic-Latin based character set with accented letters & numerals
    □ Most punctuation marks
    □ Numerous symbols

■ Decorative formatting
    □ Pictorial attributes
    □ Repeating patterns

───── 「 THE END 」

Let me know what you think so far,

Cheers

Put a smile on your night. A happy Halloween to everybody! PS: Take a look to the lowercase, please, Someone is waiting for you...

My take on a thin sans.

It should cover all Western European languages (plus Hawaiian and Hepburn romanisation).

First pass at light kerning done, will be refined with use.