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;

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.

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

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. 

STF_GEO-GOTHIQUE - Geometric semi-serif gothic grotesk typeface.

STF_EIN BERLINER - Condensed geometric sans-serif typeface.

Inspired by the lettering seen on a variety of different Dutch and German street signs.

The simple and clean geometric letterforms provide this typeface with a strong legibility in both display & body style text.

(grid size 3,5 × 7 at 2x2 brick size filter)

Enjoy

Support for 34 languages:
Afrikaans, Albanian, Belarusian, Bosnian, Bulgarian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Greek, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Macedonian, Maltese, Norwegian, Polish, Portugese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Turkish, Zulu.

STF 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.

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...

DIDUDE (Condensed) ― Contemporary Neo-classical "Didone" style serif
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The idea revolved around the basic concept for 'Didone'-style typefaces.
A genre characterized by modern unornamented standard letterforms, which was very popular for general-purpose printing during the 19th century. DIDUDE is by no means an attempt to embarge on a quest trying to deliver a conceptual overhaul of this genre. Its main goal was to achieve greater simplicity, without sacrificing that traditional neo-classical personality. Instead of leaning towards the typically more 'Humanist'-influenced style with distinct stroke modulations and proportional forms, geometry and symmetry were introduced to design this more simplified take on the traditional historical style. It has been crafted with a structural logic of its own.

"Less human, more geometry.."A fusion of geometry and neo-classical elements that blends the past with the present.
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Main distinctive features for DIDUDE (Condensed) are:
Tall and narrow letterforms with short unbracketed serifs, vertical orientation of weight axes with a strong contrast between thick and thin strokes, slightly squarish-shaped round characters and its emphasized business-like nature. So the majority of important characteristics that distinguish the neo-classical style have been incorporated.
Certain features that were implemented into DIDUDE's design are somewhat setting it apart from most other, more traditional typefaces in this genre, and most notable is the more relaxed contrast ratio that was choosen for this particular project.
Further personalizing touches were made to stroke endings and curve geometry, providing slight 'calligraphy'-inspired decorative variation with occasional spurs, breaks, curved finials and plain monolinear terminals.
Topping it all off with an ever so gentle height deviation that sparks a subtle rhythm to any line of text. Last but not least, most of the optical clunkiness was addressed and either corrected or compensated.

There is a large character set that includes a little bit of everything:
Basic latin character set, latin-1 supplement set, stylistic ligatures and glyph alternatives, punctuation marks, lining and non-lining text figures, roman numerals, (Partial) Greek and Cyrillic, also numerous non-lingual technical, mathematical and decorative stuff was included.

Only partially kerning for now and this remains a WIP.

Nonetheless, I hope y'all like it so far..
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Here is a link to the other font style in this typeface family:
STF DIDUDE (Regular)

Cheers

It'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. 

Made for FontStruct's Future Competition. This display typeface was designed with a little influence from stencil, this font has rounded corners intermixed with angular corners, and gaps in unusual places. It also uses the “two-storey” lowercase g, which was a challenge to fit cohesively within the restrictions I gave myself.

ASCII + Cyrillic.

withered

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

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.

STF_ELEGANZA (Therapy) ―Contemporary geometric humanist sans
══════════════════════════════════
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.
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
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.
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
Dimensions: (in grid units)

X-Height:              1 .625
Cap-Height:          1 .875
Em:                        3 .5

Brick Size filter:     2 : 2
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This is the 'Therapy'-style in the 'ELEGANZA' typeface family. This version basically aims for the exact opposite effect than what the Tight' version did. The name 'Therapy' relates to its 'opened-up' appearence and the overall de-stressed propperties of this version. The more relaxed and spacious distribution remotely resembles the characteristic feel of a typewriter face. But the main purpose for this version is to create visual hierarchy in your layout.
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The other style variations can be found here:

ELEGANZA (Tight)
ELEGANZA (Tall)

I hope you like it...

Very tiny letters with the height of 5px.

アーケードゲームっぽい16*8ドットフォント。

在りし時代に有りそうなフォントを目指したら、なんかスタッフお勧めに選ばれたりした。

なんかパズルゲームあたりであるかも知れない。

There is also an alternate "s" in the "™" glyph, and the "ff" and "tt" ligatures placed on "fi", "ff" and "fl" respectively.

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.

Sort of mixing ideas from "tuxedo blvd" and "tinseltown." Keeping with the "t" naming trend between them, here is yet another Art Deco font, "trailblazer," please enjoy~

A cursive-esque, sort of hand-drawn font. Really had some fun stepping out of the usual font styles and explore with these cute little loops and swirls. Please enjoy~

A fractured art deco font, crumbling under its own weight

Please enjoy~

Hard to believe that 10 years have passed since joining Fontstruct. The years have truly flown by and typography went from an unknown, to a delightful hobby. Many many thanks to those who helped me learn and grow on this platform, it's been such a fun adventure with such a positive impact. To celebrate, may I present "magenta" an art deco font for any typing needs. Please enjoy

This also marks a little turning point. The name "time.peace" was chosen at random and was honestly something I’d never been thrilled with. After much thinking, a new moniker is being adopted: "tortoiseshell."

"tortoiseshell" pulls from the tortoiseshell butterfly. Butterflys are seen as both symbols of time and of peace, making it a simple homage to the old title. There is another connection to tortoiseshell glasses, a style popularized in the 1920's, an era that has been incredibly riveting with its Art Deco movement. Lastly, there is a genus of the tortoiseshell butterfly native to my home.

"tortoiseshell typography" looks build upon old ideas while also growing and evolving into the future.

Cheers to the next decade and the new chapter~

Venturing a little into Art Nouveau. A bit of unfamiliar territory, but it sure is an elegant style. This font builds on the ideas of "peach" and "just peachy," making this amalgamation, a potion of sorts. Please enjoy!

Dusting off an old art deco design from the archives.  Please enjoy

A twenties era font with the uppercase measuring twenty glyphs tall, the lowercase measuring five glyphs tall by four glyphs wide, to multiply out to twenty, and incorporating exactly twenty different glyphs to boot.

It was really quite fun seeing all of the ways to sneak the number twenty into this font for the competition. Please enjoy!

I created a font similar to this years ago, a design adjacent to some exhibits found online, but it suffered from inconsistencies and was lost for one reason or another. It was one of my favorite designs and I'm so happy to have it back, now with a more proper looking lowercase! Please enjoy

I recently found an old book of typefaces and one of the samples within sparked the creation of this, a classic/angled art deco font, inspired by the golden age of ocean liners. Please enjoy