Made with the well-known Grafilone typeface (by Bo Berndal) in mind, but more elongated and avoiding its curious roughness. In addition to the basic set of glyphs, some special ones have been added and the Cyrillic alphabet has also been included. The ligatures "ff" and "tt" are located on the characters "ff", "fi" and "fl". Enjoy it, please.
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 clonePHOTONIA (Pro) - 70s future retro style
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70s style reverse contrast sans with future retro aesthetics, perfect for projects with a vintage sci-fi, space age or computer theme.
This is actually a refurbished and extended version of an older FontStruction I did back in 2019. The original PHOTONIA was a cool looking little work, but didn't quite made the most of its design concept. Inexperience and poor design decisions had led to inconsistencies and other flaws throughout the font. Besides those it also had a small character set that mostly consisted out of the basic Latin block and bare essential symbols & punctuation marks. But imo it still had quite an interresting retro vibe and the potential to be more. So I decided to give the old project some well deserved refreshments.
First I started eliminating the inconsistencies that were present in the older work, than I continued polishing and re-design / modify several characters hoping to create a greater overall unity to the entire piece. Once I was fully satisfied with this renewed improvements it was time to build and expand the character set towards a more complete lingual and typographic support.
➜ ⚠ Previous Version:
▶ Basic Latin only
▶ Minimal kerning
➜ ⚠ What's New Inside:
▶ Additional Latin and accented Latin
▶ Diacritics
▶ Many glyph alternative forms
▶ Additional symbols and punctuation marks
▶ Horizontal box drawing (page deviders)
▶ Typographical symbols
▶ Ornamental printer's characters
▶ 1680 stored kerning pairs
Cheers
This is a cloneFauxhaus — Geometric minimalist modernism sans-serif design
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[INSPIRATION]
As the name already suggests, this indeed was inspired by the Bauhaus-typograpy towards functionality style.
More specifically by Austrian artistic polymath Herbert Bayer's 1925 experimental "Universal" alphabet.
The alphabet he designed became somewhat synonymous with the school's identity, and probably is the most well known Bauhaus typeface, and truly epitomizing that typical simplified "Form follows function" Bauhaus-minimalism style. It was also used for the new Bauhaus-building signage.
Some key features in Bayer's original form are those easily recognizable geometric sans-serif letterings, with letter composition based on strong basic geometry, having eliminated all decorative elements of the letterform composition for that crisp industrial, slight mechanical minimalist aesthetic. Bayer's original Universal alphabet also eliminated the need for a upper case letter, further simplifying it towards more of a functionality-driven standardization. Bayer developed multiple revisions and variations of the alphabet. Sadly Universal was never cast as a font, as during that era they weren't manufactured into printing typefaces, and the designs would only exist as drafts (as was the case with all Bauhaus-typefaces). Nonetheless it served as a lettering model for Bauhaus students, colleagues, and followers alike, and they were regularly re-used for signs, book covers and publications by many of its members, but even beyond institution walls the typographic style began to gain a foothold. Throughout the years we have seen a multitude of revivals and other Bauhaus-inspired typeface designs. Some of which that try to be faithful digitizations of the original, whereas others taking a more artistic approach to the style by providing their own personalized reinterpretation of the Bauhaus-aesthetic. So even to this day, many decades later, it repeatedly continues to inspire and influence designers time and again.
Bayer, First a student and later junior master of the printing workshop, was one of Bauhaus’s most influential attendees, advocating the integration of all arts throughout his career. Though not trained as a typographer, he was also assigned with the task of creating a universal visual & typographic identity for the school.—a task Bayer took very serious.Sparking perhaps the most mythic typeface to ever come out of the Bauhaus, which is "Universal"—one that at that time strove to be as idealistic as the school itself
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[THE "FAUXHAUS" FONT]
This is an artistic reinterpretation of Bayer's "Universal" alphabet.
Aiming to preserve the unmistakable style and simplistic geometric stylistic properties of the original, while in the same time allowing a more 'free-form'-approach towards crafting the letterform compositions. This of-course as long as they remains in-line with the stylistic properties of the original. And for the lack of having a better explanation;
—To do sort-of a 'faithfully different' artist depiction of Bayer's original Universal alphabet.
Some notable differences made in Fauxhaus compared to Universal are the re-introduction of a upper case form and the slight de-simplification and inclusion of subtle decorative nuance.
In some cases I've choosen to compose certain specific characters to be more or less identical as to how Bayer originally intended them, whereas others may be entirely different looking. And for some characters have one or more alternative form as well. Some of which are more 'ad hoc'- compositions drawn as we went when new ideas popped up. But others were specifically created to preserve and / -or include certain distinctive and unmistakably identifiable letterforms from Bayer's original Universal alphabet.
Greek & Cyrillic characters included in Fauxhaus were solely added for my personal experimentation purpose only, and they serve 'zero' function as to additional language support of the font.
"Use at your very own risk"— as these could very easily be gone the very next update.
Each letterform was meticulously composed from a random collection of the various memories, which after some thirty Bauhaus-inspired and / -or -revival works including their respective 'shared' research I have accumulated over time for Bauhaus typography like Bayer's work.
No source reference image was used as guidance for creating this FontStruction, everything came straight from the knowledge I gathered from the many previous Bauhaus related projects I did.
So to draw solely from memory alone somewhat a convincing and reasonably similar personal reinterpretation of an original 'Bauhaus' typeface at this stage has gotten pretty easy for me.
For this project in particular I've choosen to construct the letterforms on a medium sized grid, using the linear interpolation 'faux'-Bézier method. So beware that when using this font at very large point size rendering the remnants of this process will become visible!
That's all for now, I hope you like it so far,
Cheers
This is a cloneUnicase font with a lot of alternates in the lowercase to improve the general playfullness. Also added more diacritics and accents, and remodeled and kerned the old glyphs. (Plus: other "1" at the "t", the 3rd "U" -and their accents- are at the "v", "ò", "ó", "ô" and "ö", respectively.)
This is a clone of zimonart eYe/FSVAN NELLE (Blueprint) — Geometric modernist sans
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☛ THE SOURCE
A re-interpretation of the 1926 geometric sans serif alphabet system reproduction by Jacob Jongert, published in a 1930 sourcebook by N.J. van de Vecht. The geometric uppercase set of the alphabet system is what would later become the famous sans serif capitals which he used for lettering throughout many of his Van Nelle materials.
☛ THE FONTSTRUCTION
Attempt at making a convincing recap of the original alphabet by Jacob Jongert as it was shown in the 1930s sourcebook, and extrapolate that into a full functional font. The decision to go with a small grid sparked a number of limitations in terms of the design freedom that forced some inevitable changes. But the general idea sort of became not to make it a revival, but rather more or less a faithful revision. One that would still be instantly recognizable yet didn't necessarily had to be all about accuracy.
☛ —The small grid design made sure this wasn't happening anyway!
But, for instance, the most striking difference between the two fonts (their weight) in fact is such a byproduct for one of those limitations. Something FS's small grid couldn't properly reproduce, so VAN NELLE (Blueprint) has a slight stronger weight, making the font somewhat of a bold style version of the original. This in addition provided me with slight extra freedom to inplement a little personal touch for further manicure of the font's finer details. Which allowed me to cope with some of the optical clunkiness that come with a fatter face and the grid based design.
Besides these circumstantial differences, which were basically beyond my control, I've also made some intentional changes to make the typeface more practical to use. The changes include things like the significantly lowered ascender height, the slight different width for certain letters, larger tittle (dot above i, j & ij), and several more. despite these changes I believe it very much still reflects what Jongerts once invisioned for the system.
☛ SOME NOTES ON THE ORIGINAL AND ITS CREATOR
Jacob Jongert(1883-1942) was a advertising designer from the Netherlands. After varied studies, including being Roland Holst’s assistant and an acquaintance and colleague of S. H. de Roos [who brought the Arts & Crafts ideas of William Morris to the Netherlands and devoted his career to book design and typography] with whom Jongert experimented with several printing techniques and discovered graphic design as his ideal art form.
¶ In 1923 Jongert rolled in a unique and long-term collaboration with the Van Nelle company, where he became head designer, a position he held until 1940. The Van Nelle company had an extremely modern approach towards advertising (they even commissioned Cassandre to do a poster) and Jongert created for the firm a recognizable image with clear shapes, powerful letters and primary colours, totally Dutch avant-garde in style, and with a strict and rigorous approach directly linked to De Stijl principles. The corporate identity he created has become a milestone in the design world.
¶ The lettering, however, is the driving force that ties it all together. The style is a straightforward set of plain, mono-linear, sans serif capitals in a style that just started to come into fashion in the late 1920s, early 1930s with the rise of functionalism and geometric type design. Yet, while these ideas were already thrown out there, its clever simplicity plus the systematic and cohesive way Jongert implemented his lettering was unusual at the time. The square and minimal construction of the forms allowed the letters to contract and expand to fit any situation, yet maintain a consistent and recognizable appearance throughout the Van Nelle line. ¶ Something we only recently have learned to appreciate is to see his hand crafted system amid the current advancements in variable-font technology, which offers a similar kind of flexibility to typeface designs. A quality that certainly placed him well ahead of its time.
What I particulary like about Jongert's original is the stuff that is going on in the lowercase set of the alphabet, which are those quirky lowercase letter inventions that are different from the more traditional modernist sans, but sadly the lowercase letters were pretty much never used in his works.
I created a simple PDF typeface specimen for those who want to see the high-resolution preview.
PDF SPECIMEN WAS DELETED
Thats all Folks ☚
☛ Cheers
LEOPOLD PRO (Sans-Regular) — Modern geometric condensed sans
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This is a minimalist, geometric sans serif font with medium contrast and a strong compressed look. The modern condensed forms make up an elegant and classy looking font.
The overall design is a mixture of contemporary design with antique inspired elements.
The other style can be found here:
LEOPOLD PRO (Serif-Regular)
Cheers
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 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
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 cloneSTF 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)Uppercase font with some alternates in the lowercase zone. You can find an extra third "S" in the "t" glyph. See also zhellbar, the solid colour version.
This is a clone of zhellbar Col eYe/FSThanks 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 cloneColoured 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/FSA jazzy, unicase, unique typeface!
i am posting this late at night, becuase i know due to time zones, it's morning right now. So, here i am at 1:14am, trying to post this late at night, so people wide awake somewhere else see this!
Unicase font with alternates. Special characters: Blank space at the "\", "LT" pair (kerned) at the "fi" ligature and the "TJ" pair is at the "fl" too. Better to see the font at big size. Enjoy and Happy New Year 2023!
This is a clone