This is zimmera without scratches, more usable for general purposes. Thanks to @frongile for encouraging me to add it here. Hope you like it.
This is a clone of zimmera eYe/FSBENGALIQUE - Contemporary grotesk type
A condensed geometric Grotesque style, that at first glimpse looks somewhat simplistic. And for the larger part this is true. The goal was to do a ever so slightly spiced up take on this 19th Century classic style.
At it's core, the letterforms have this strong geometric grotesque backbone that is easy to recognize.
While trying to preserve that unpolished characteristic classic Grotesque basic form, I attempted implementing some personal twists, hoping to make a more contemporary but faithful variation to it's crude classic renegade traditions.
Some of the more distinguishing features for this font are it's heavily condensed style, the somewhat quirky curvatures, overshoot and/-or tapered ends in certain 'sweet spots' on a glyph's leg or terminal.
At random some legs will also ascend and descend just a tiny tad bit, gently adding this extra layer of dynamic depth and playfulness.
Spurs are slightly tapered, counters, negative spaces are in mostly rectangular and do not mirror their convex outer curves, in fact the only concave curvatures within a partially enclosed negative space are those that have strokes intersecting or when a curved shape is used to replace diagonals.
(such as; "B, Kk, Ss, Xx, Y, Zz" numerals; "2, 3, 5, 8")
Note that a couple more unmentioned characters make use of concave curves as well to accentuate specific choices.
(such as; "R, t, ß, etc.")
Visual corrections and optical compensating was exclusively performed on the top part of the glyphs, not their bottom.
-- Some additional side-bearing and kerning is still required --
No filters used...
The font works best for 'Display Type' at most point size. In smaller quantities it can be used for 'Body Type' as well with some proper adjustments to the horizontal spacing. But, nonetheless the font's condensed nature, it's tight letter spacing and some thinner strokes still heavilly affect the flexibility for legible Body-Type-use.
Recommended size for Digital-Display-use is 28pts or higher, and bellow 20pts the font becomes unreadable in Digital-Display-use. But I hope you like it so far, and feel free to let me know what u guys think! ?
That's all for now folks..
Cheers
It's called Choices because this basic idea lead to numerous minor iterations that completely changed the character of the...er...characters. All the unused possibilites are now sitting dormant in another font. Perhaps they will become a full font (or three)...someday.
This is a cloneGildor: A high elf from Tolkien's The Lord of the Rings. He met Frodo, Pippin, Merry, and Sam on their journey to Rivendell. Gildor Grotesk: I considered the alliteration.
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
inspired by neue machina and lack
added fun alternates in the private use area
This is a clone of Thinlyn (#nfnw)An old idea from the early 2010 put in their original colours. The lowercase repeats the same coloration from the uppercase changing the position to improve the artistic view of the typing words changing some letters. Just a silly font, enjoy it please. And Happy New Year 2022!
This is a clone of ztrange blk eYe/FSTrying an unusual oblique way to spacing the parts in a stencil font. Looking at the glyphs, I'm not entirely satisfied with the final awelcome. Thanks in advance. ❤️ I'm not entirely satisfied with the final aspect of my "s", any suggestion to improve it (or also for other letters) are welcome.
Inspired by the inner inktraps of Rocky Road by Baharak Pourmirzajan. An extra "g" is at the "±" glyph. The name of the font refers to the science-fiction korean series "The Silent Sea".
This is a clone of Rocky RoadA rigid all-caps font, display/signage style. No curved shapes - I wanted something in the same spirit as "ITC Machine" (Designed by R Bonder and T Carnase in 1970). Thus with a little less compact approach, making it more versatile. Zoomed out, It’s like an edgy, bold and slightly condensed neo-grotesque.
(This fontstruction may be part of a client project, therefore it is fully licenced - at the moment. Hopefully I´ll make it downloadable under the fontstruct licence.)
I've already gotten into another mess. Again a "2-in-1" font. It may work as is, but if you want to convert it to a script one you have to use some connectors between the letters, placed in the glyphs <, >, \, [, ], {, }. You must try each of them between two characters because there are many possible combinations. I add some samples down here. Don't worry and be patient, please, the result is worth it. Oh well, the actual "</>" glyphs are finally in the "©/™". To see all working, copy and paste the following sentence in the User Input window, please: Th>e q>u>i>c}k b[r{o[w[n f>o[x j{u]m]p\s o[v{e[r t]h>e l>a{zy d>o{g.
This is a cloneAn old updated idea: overlapping glyphs, and 3D simulation with colours. See also zupra eYe/FS.
I based this font on the unusual lines of letters n, r and k I see on my mum's document folder, since I was old enough to be shown.
In the war my mum was a secretary in hospitals. When she was 21 she made friends with a Hungarian doctor there who helped her deal with the many terrors she saw daily, things most people never realised existed. He helped her survive and became her mentor and protector. He made her a beautiful folder for her documents and letters, from cardboard, kraft paper, inks and obsolete x-ray supports.
He decorated the folder with traditional designs - on the front of this folder he wrote Emlék ................... My mum used the folder until she died, just recently. My parents named me in honor of this man.
This font is in memory of my mother and also of her protective angel whose name I heard too rarely to remember, and sadly my parents never managed to trace him after the war.
Alternate g=\, alternate k={, alternate m=I, alternate z=}, alternate UC ß=#