Caps only font. You can use the glyphs placed at the lowercase to add a different second letter in pairs like EE, FF, LL, NN, OO, SS, TT, ZZ, etc. and to avoid graphic repetitions in a single word or phrase. Extra "c" at the "¢" glyph. (NB: To create this one I have greatly exaggerated the method used by my admired Beate -sorry, Maestra- in her font db Whisper, which successfully simulated hand-drawn letters.)

a first attempt. 

Inspired by Bastard by Barnbrook Fonts and Minotur by cablecomputer

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 more elegant, borderline art nouveau/neon art deco

The design process is typical in its atypicality (yes, it is a word, or, at least, should be!).

The atypicality necessitates the telling of the story behind it.

Looking for something to do...something easy to do, I came across the font shown 5th from the top in this article on Dieline. "I can do this," thought I. I did a 2 that looked similar. Based on that, did the 3. 5 6 9. 0 8. 1 7. "Hmm." Add the horizontal stripes. 7. 4? "No." Re-4? "No. Another 4? Perhaps thinner sides?" "Even thinner." "Hmm." Redo 1 2 3 5 6 7 8 9. "Maybe this is better. OK, lets do the letters." Start with Z because it is almost a 2 with minor curve tweak. Do the S. B because 3 is done. A. V. C. E. F L. J. Etc.

The glyphs so far have a 3 horizontal band appearance. Do the lowercase. a is two bands. b is two bands...but how high should the ascender be? Also, the x-height seems wrong. Off somehow. "Can I do a 2 band uppercase with the letter slightly taller. Maybe 2 bricks taller?"

Redo A. Redo B. "No this B is not working." Redo B. Redo B. Redo B. "Hmm. Maybe." Redo C D. Redo E F L. "OK, this might work." Redo to all uppercase letters.

Do the lowercase. "Yes I like the new f." Redo other letters to include the flip. Most of the letters are the same width. "Maybe I can make this a mono-space font." Redo m. Redo M. W. V. "The A looks odd." Redo A. And so on.

The font may have started as a simple thing but it is very different now. "I'll just publish it." "No, I should at least do the basic punctuations." "No this hyphen is too thick." Redo. "Now it is too thin." Redo. "Now it is too wide. But this is mono-space font. The width cannot be altered." +. "That just looks weird." Redo +. Now the - looks off. Redo -. Now they both don't fit with the rest of the font. Redo + -. "No. I'll come back to them." Do [. "No that's too heavy top and bottom." Redo [.  Do (. "This needs a different curve." Redo (. "Can I use this new curve somewhere else?" Redo @. "Hmm." Do ©. Do ®. Do ™. Do “. "I can't make this so wide." Do ‘. "Definately cannot make it mono-space." Redo all punctuation to be their natural width. "This is no longer a mono-space font. Should I redo M m W w to be more natural?" Redo do m. "No this is too much work. I can't be bothered anymore. Let the m's and w's be."

"The punctuation looks niiice. Should I do a font to match these?"

Create New FontStruction

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.

STF_THUNDERDOME - A tall thin stroked Art Deco typeface.

I tried to create pretty simple, elegant but somewhat wonky geometric letterforms.

Inspired by the later 70's Art Deco Streamline period.

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This remains a WIP, many of the glyphs in the Extended-Latin set aren't reflecting their Basic-Latin counter-parts. The character set remains far from complete for now, and many changes need to be made still.

Kerning done only for a few pairs and overall balance therefor is still quite poor I guess.

Some 'more' detailed but derailed towards the end 'in-depth' recap of this font could be found bellow in the comment section.

Stay tuned for more,

Peace!

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

Tennessine: superheavy element of the periodic table named after the US state Tennessee. Symbol: Ts, atomic number: 117, atomic weight: 294. It is a radioactive element artificially produced by fusing berkelium and calcium atoms.

Inspired by the Logo of The band Scorpions first created back in 1975.

All other letters were built based on the letters in the original logo by me.

I found the original font of the logo, called "Lady Starlight" (you can check it out here:https://www.dafont.com/lady-starlight.font?text=SCORPIONS) quite boring and thus made this like a recreation. Hope you find it much more interesting.

HeavyComp entry number 1

Enjoy!

Open to comments and suggestions

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.

A fractured art deco font, crumbling under its own weight

Please enjoy~

STF_FRONTAL BOSSING - A groovy bold and rounded Sans Serif typeface.

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This is going to be my second entry in the "HeavyComp"

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ABOUT THIS FONTSTRUCTION:

TECHNICAL:
Grid:  17 × 16 square grid units (incl. descends, overshoots, accents)
Filter: 2 × 2 brick size

BIO:
The idea was to come up with a friendly chubby fella.

And for all I know I think I have done just that. In the end, it does seem to appear it came out with a slightly bigger forehead than the average (but, no love was lost here, we have come to learn to appreciate the misfits).
Despite its weight and slightly clumsy appearance this juicy Mr. Boogie still got dat funk, and can not wait for it to be the next saturday night.
Even so, when he for once isn't told to "Swing and Boogie" he still is nice to have hanging around. His friendly persona is only to be matched by the ever so nice soft curves. "No sharp edges to detect here".
I can only hope for that all of you come to appreciate him as well! ;-)

(Let's do this in another language as well)

CONCEPT:
The idea was to make a letterform that has a friendly looking design. I tried to achieve this by way of softening all hard convex corners with a smooth rounded curve. And by "all" I litteraly meant, even on all diagonals, accents, thin strokes and stroke tips (Nothing was left untouched).
For all the concave corners, so the negative space (white space) of the letters have multiple solutions depending on what is happening (does it curve, intersect and or wether a stroke continues or not)

The curves all have near hi-res looking (a couple of minute imperfections) but otherwise smooth surfaces, and there are multiple custom created ratios/transitions, such as:

1.5×1.5,   2.5×2.5,   2.5×3,   3×4  (+  The bullet is a 7×7 circular dot)

I hope you like it,

Cheers

(PS: Sample follows soon)

A spur-of-the-moment project. An exploration of geometric silhouette conformation and fun Futura-based alternates (specifically, using the circles as strokes).

Glyph alternates can be accessed under the Cyrillic characters.

A heavy font but with strange coloring. Kalyn means thick, bold in my language

BENGALIQUE - 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

G1 ThunderGawd. Opening day for Marvel's Thor Love and Thunder movie AND final day for the FS HeavyComp! Time to kill two birds with one stone, or maybe feed two birds with one scone.
HeavyComp entry #3. This font features...
• Microserifs
• 7 Color layers
• Chamfered Bevels
• Interconnected Celtic knot patterns with shaded underlayments
• Full weaving pattern on uppercase/numbers, vertical patterns on lowercase
• Thor's hammer Mjolinr on the +, broken hammer on the -

Can't wait to watch another film of Thor in the Taikaverse. Feels like I'm going to watch it about 50x, just like Thor Ragnarok. 

Thanks to this competition, this font brought the challenge out of me. Believe it or not, this is the simplified version of what I wanted to make. Really nice set of submissions in quality and quantity from everyone for the Heavycomp.

 

LITERA FACILIOR GOTI ― A 'Blackletter' script style with a twist
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Also known as Gothic script, Gothic Minuscule, or Textura, was a script used throughout Western Europe from approx. the 12th untill the 17th century.

This FontStruction was aimed at mimicing the aesthetic approach of a ― ‘Textura’ variant of the Gothic Minuscule script style, more accuratly refered to as ‘Littera Textualis’. This style is most characterized by its strong sturdy letterforms, with distinguishing sharp, straight and angular features as oposed to the other variations in this catagory.

In terms of authenticity to the original predecessing formal script family, my ‘Litera Facilior Goti’ didn't took a whole lot of care for authenticity. The idea was to take a more independent and experimental approach to shaping the letters and forms, so it wasn't necessarily inspired by any specific typeface in particular, it rather recycles certain characteristics of a ‘Textualis Quadrata’, but beyond those aspects of general guidelines it evolved on its own.

Some of the areas where the design tends to really stray away from the tradition is for example the serifs:

It's often that I have some trouble with the weight ratio distribution of serifs and such elements in simplified modular based geometric Blackletter fonts. In many of such designs they tend to have been left pretty static and equal in thickness throughout the full character set. Which I think is often either having some letters look clumsy or even weird, and generally speaking also often making them appear too thick.

So this was one of the things I had to try and adress, I experimented a little with the style and forms of the serifs. Eventually this resulted in multiple deviations in variety to mix and create a more dynamic distribution. similar to what was done in less formal scripts. Over time they became ever further simplified, letterforms that involved less reorientation of the pen, in pursuit of styles that were quicker to write.

But taken as a whole typeface I find that it is having this certain ‘random-ish’ characteristic that is simply working for the better of these particular style fonts.

I'm still working on improving its overall rhymes and reasons to a certain point that is acceptable, balanced and with enough consistency. But up to this stage I personally think that the concept worked out quite successfully so far. And that even despite the fact that its stripped down of most ornamental decorative calligraphic extravaganza, it still managed to capture a convincing portion of that ‘Medieval ’ looks and personal flavour.

But I think that in the end this became a pretty neat looking font and it would classify somewhere between a hybrid mix of simplified Blacklettering and a drunken man's ‘Textualis’.

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―  No filters used!

Cheers!

An old project, finished now. 70s vibes. Hope you like it.

HeavyComp entry

Hope someone finds this useful

actually blackletter (somehow)

inspired by the work of @elmoyenique and @sed4tives

btw "kaldus" is slanted in estonian

 A 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! 

Based on an old glyph by the magnificent and always amazing Master geneus1. Caps only. You can find an extra A at the "a" glyph and a little C placed at the "®". See also the grey version.