My take on Futura Display. The original has some odd details and inconsistencies, so I made my own version. Some compromises had to be made though. A few alternate characters are in the private use area.

A more classic Art Deco uppercase, with a more out-there lowercase. Please enjoy

P U B L I S H E D   O N   N O V E M B E R   1 8 ,   2 0 2 5
╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾

PW-Blacker Grotesk — a heavy geometric sans-serif font with robust language support. Capital-only.

This font also contains full 3-square-root characters: √, ∛, ∜.

Fractions can also be typed in this font
Syntax fraction typing: [superscript][fraction slash][subscript]
Example: "¹²⁄₃₄₅", while "¹²" is a superscript, " ⁄ " is a fraction slash, and "₃₄₅" is a subscript.

Over 100 language support: Belarusian, Bosnian, Bulgarian, Chechen, Macedonian, Russian, Serbian, Greek, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Vietnamese, Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu

Please share your thoughts on this font in the comments.

Inspired by this pretty font by fugitiveglue. I've added a bright point on each little ball. Better see at big size.

Started with the concept of having only one rounded corner at the top. Named after the Bugatti Veyron.

I was looking to make a rocky font, playing with few bricks but it was complicating minute to minute... I've been very busy lately, and this was (taken it bit by bit) an easy way to unwind. Hope you like it.

Unicase stencil design. An attempt at using some bricks that I don't normally use.

Just experiment with 3 fonts that can be stacked 

there is a 2-line and 1-line version

ÑAnother mondrian-esque, colourful and minimalist font. Unicase with alternates.

Inspired by the superb Schaar by four, in a pixelated mood. It is also an optical experiment. The diacritics needs some extra work.

A thin, simple, tricolour font, smooth and pleasant. The "ff" and "tt" ligatures are included in the "fi" and "fl" glyphs and an extra "s" is in the "™" too. Some kerning is still needed.

Playing with pattern capitals. Some alternates in the lowercase. Best viewed in large format.

This is my little contribution to the fantastic recovering universe
called LETTERS OP MAAT by the great @Sed4tives about the typographic world of the dutch artist and typographer Jurriaan Schrofer. Btw, I sincerely apologize to @Sed4tives for the undue delay and the time it took to publish this exciting addition to his magnificent series (I'm sure he thought I'd forgotten, didn't he, comp4ñero?). Hope you like and enjoy these two fonts in one.

- - - - -

GUIDE TO FIND GLYPHS:

- Curved left unicase: A to Z + Ç, Ñ, Æ, Œ.

- Curved right unicase: a to z + ç, ñ, æ, œ.

- Curved left numbers: 0 to 9.

- Curved right numbers: for 0 type %, 1=<, 2= =, 3=>, 4=[, 5=], 6={, 7=|, 8=}, 9=^.

- Other curved left glyphs like ., , , ”, ’, ', ?, !, @, $, &, (, ) and -: in their own glyphs, plus :=/.

- Other curved right glyphs: ”=“, ’=‘, '=", @=*, &=#, -=+, .=:, ,=;, $=`,:=\, ?=¿, !=¡, (=_, )=~...

... The work still in progress (diacritics in the oven)...

An earlier (1926) constructed alphabet from Jan Tschichold, based on a somewhat finer grid and a slightly less condensed uppercase and a bolder appearance overall.

With a caps-height of 17, reproducing some diagonals proved quickly to be between nightmarish and impossible, thus the fidelity is a bit less exact than my previous recreation.

For a digitisation that encompass both designs and offers proper alternates, you can look at Peter Wiegel’s Tschichold.

Happy 17th BD, FontStruct!

This project was stuck in font purgatory for over two years due to some frustrating issues with consistency. Finally revisited and finalized, here is a simple thin inline deco font, had some fun with the flip-flopped "B" as the "g." Please enjoy~

WOLKENKRABBERS — Condensed streamline Art Deco style lettering
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Enjoy!

This italic was more difficult to build than I espected (especially the glyphs K, M, S, X, g, k, x, 2, 5, 6, 8, ß and a few others). There are still shapes that are very hard to achieve using the current FontStruct's tools... but nothing is completely impossible if you dedicate the time to it, the results are often surprising. So it also took me much more time to complete the entire character set, but I'm happy about the final aspect of the font: it looks curiously forceful, positive and fresh at the same time, and I like it, despite not being 100% happy with some glyphs. Kerning isn't finished. Suggestions are welcome, folks. This is my 2024 font for Xmas: Happy holidays to you and yours, dear Rob Meek and all the FontStructors wherever you are!

STF_WALDBAUER — Condensed modernist Bauhaus sans
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This is rather a heavily condensed sans that sits halfway between a Bauhaus and Art-Deco style lettering.

The low waist, tall x-height, long ascenders and deep descenders give this font a somewhat elegant appeal. The uppercase set is clearly Art-Deco inspired, whereas the lowercase set leans more towards a playful Bauhaus mondernist style. Several characters have filled enclosed parts or other exaggerated features as well as non-filled alternate forms.

The idea for this font was inspired and extracted from a 1930s poster ad by Pál Vince for luxury luggage company Waldbauer.

The FontStruction's x-height is 3,5×1 grid units, so its tiny!

I hope you like it,

Cheers

Inspired by INVASION BLOCK (by the great Upixel), but right slanted, with more glyphs added (206 in total) and some of the originals slightly retouched.

High contrast font, with two dingbats of little seagulls placed at the "fi" and "fl" ligatures.

Initially inspired by SB Standard font (2013, Craig Staiton) with many modifications and recreated glyphs... And made to saving half the ink when you print your text with it, which is very important in today's times, you know :))

I can't superate chocomotion by four (❤️!), but I'm trying my own soft approach to the 3lines font design world. Hope you like this attempt to clarify from my to-do list. Btw: feedback about the design or aesthetics of some Cyrillic characters would be appreciated. Thanks in advance, people.

In the font preview window above, click Pixel and then Shift+Pixel 4 times to see the full effect of the font.

I remember from back when I was learning Japanese, that the stroke order in writing hiragana, katakana, and kanji was important. I didn't get very far in my Japanese studies, but even then some of the kanji were like 17 strokes each, and each with a specific order of marking the strokes. Thinking of what would be appropriate for a number competition, I recalled the number and order of strokes per glyph idea. Hence, this font. 

The idea brought with it an inherent textfont sensibility. Deciding on the slope of the diagonal strokes was tricky as they rendered those letter either too wide or too narrow. The correct choice was a slope with a flat top or bottom. That allowed the width of the letter whatever I wanted but the flat top took away from the natural marking of the stroke, as in: no one actually writes an A with a horizontal top stroke. Settled on the current slope and width. Still, the letters came together fairly quickly; the kerning not so much. Whether they were adjusted or not, around 10,000 kerning pairs were checked. More than 2500 kerning pairs are included here...and many more still remain. How good or consistent the kerning is is for other's to judge.

Some of the glyphs are quirky, I know. There are already hundreds of thousands of exceptional standard text fonts. No point redoing those. 

Due to the need to show the strokes individually, the font came out as stencil. That was an unintentional byproduct of the idea.

Some strokes are split in two to show distinction between the crossing strokes, but technically they would be continuous. 

The strokes are based on my own handwriting style; others may do it differently. For example, when being careful, I write the Z in three strokes, whereas I suspect others probably write it in one. 

This is not a color font even though it is auto-charcterized as one because at one point I experimented with making the stroke-order numbers gray. I thought about copy-pasting the glyphs in a new FS, but the follow-up thought of having to redo the kerning quickly put a stop to that madness.

For best view of the font, download & install and check out some long block of text in Word with kerning turned on. (This articles explains how to activate kerning in Word.)

Every printable character in the strict 7-bit ASCII set, with handy decimal, octal and binary numerical codes attached (no hexadcimal, as it involves letters ;-)