A little experiment with the "connect" bricks (and an healty dose of stacking). I wasn't referencing any specific example of the style (of which there are many), but I'm sure that, looking for solutions as I went, I ended up with something similar to already existing typefaces (and fontstructions).
Unfortunately, some connecting bricks don't align exactly, so I had to resort to approximate them, when possible, with more stacking, which didn't particularly help the already lacking consistency in construction.
But enough moaning, enjoy!
KROEPOEK -Letterforms influenced by the orient.
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Simple geometry based design that tries to imitate Asian style letterforms.
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The font comes as a "all-caps"(majuscules) with the lowercase string used to include a set of glyph alternatives for the uppercase set, but cutting the descending parts of the glyphs.
As a little bonus, a set of underlined lowecase vowel alternatives (a, e, i, o, u and y) was also included to allow a small level of personal depth. These can be found in the Unicode block for: 'Halfwidth and Fullwidth Forms'
Besides the letters there is also a set of essential punctuation and symbols present to make the font proper functional.
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I hope you like it,
Cheers!
This font is a not too curious case. It comes after trying to prove to myself (with a high percentage of satisfaction, but not quite yet) that FS can allow me to create pro-looking fonts. I am thinking, for example, of zerena, zchreibengroß, zimmera, zenando, zenantoo, zanze, zinckel and others like that. Every time I finish a font that has taken me a long time to complete, I feel the need to look back and do something more relaxed and simple. Thus, without any pretense but feeling fun and friendly, zikiya was born. Hope you like it.
FORMALISMS - Modernist inline display type
Rigid square-based inlined modernist display style with incised (fake-) 3D effect, mimicing a quirky and non-logical take on twisted geometric form and sometimes folded appearance.
Some characters, but mainly symbols still need slight improvements, some are still missing as well.
The bi-linear stroke was incised at certain specific positions and had one or more (cross-)intersecting line segment included that connect the two colinear strokes. This is creating 2 additional extra geometric hyper-planes, and allows the option of including the illusion of looking at three-dimensional geometric objects.
But the way this is implemented into the design in fact obeys no relationship to any actual fundamental propeties and isn't necessarily a correct three-dimensional form, nor fully or faithfuly folded.
The glyphs also have somewhat of a monogram logo style quality
Hope you like it
Cheers
Shorter externsion variants for letters can be found at their lowercase equivalents. No extensions can be found at: A - @, C - o, E - {, G - }, H - #, J - ], K - \, L - [, N - %, Q - ^, R - `, S - $, X - ~, and Y - |. An underscore can also be used to make the extensions longer.
VON NEUHAUS — Geometric “Bauhaus”-inspired style
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This is the latest evolution of a “Bauhaus”-inspired constructivist style typeface design that originally started 5 years, or two font versions back.
To me personally this is a long awaited triumph, that has finally materialized after years worth of been haunted by this idea, and the crazy speculations about this ghost that would never be...
Well, that was untill now... So at last, I can now finally proudly present to you this latest of arrivals to come from this unforeseen series of typeface progressions.
This newborn addition is in fact the 3rd phase of this letter concept's evolution, and caused the font project to undergo a series of addaptations that graduatelly increasing the levels of sophistication possible by chaging it's internal structure and behaviour within the FontStruct-editor. This 3rd addaptation unlocks the FontStruct editor's “Expert Mode” full power potential.
Enabling all editor functionallity to provide the most versatile font creation capabilities available within FontStruct.
STF_BLAUHAUS was the font's very first version, created back in early 2019. It's the font's original concept as it innitially was first intended. It essentially started out as a personal study into the design of letters on a small grid. And more importantly, the creation of required composite bricks to do so.
The idea back then was to craft the most complex geometry possible without the use of any “Expert Mode” functionality whatsoever. Now, what this innitially did was still quite novel to me at that time, as this had led to the development of a FontStruction that was solely built from the extensive use of composite bricks. Not just a couple, but a staggering 272 composite bricks in total. Many of which in fact are quite intuitive and required certain amounts of careful thinkering with the maths found in it's geomtry to craft these custom brick compositions.
So as explained above, there was no use of any of FontStruct's “Expert Mode” functions. This meant that the option to nudge, flip or rotate any of the bricks wasn't available. Now this changes everything in respect to building complex fonts, since in order to get all the bits and pieces of a letter such as: crossbars, intersections, curves and corners properly aligned requires, a precisly fitting composite brick to be tailor-made. In terms of the FontStruct limitations, this cause the physical properties of FontStruct's brick composition tool to be fundamental as to how much complexity and refinement can be put into it's letter geometry. In other words this is fundamental as to how well crafted the design is going to look in the end, since there is no option to further manicure shape or form other than from within those bounds of the adjacent 16-brick-array grid squares of a selection for composition.
I've choosen to design the alphabet concept in this “Bauhaus”-inspired geometric style, simply because of the simplicity this style has in terms of its basic pure geometric forms. The final result became this simple and bold looking small grif display type with a “3-bricks” Em-size only.
but it had some crucial compromises that had to be made due to FontStruct's design limitations. Not terrible, but not quite perfect either.
One very important byproduct from this limitations as were described above was a huge collection of very intuitive custom brick compositions that offer seemless alignement and perfect fits, basically an extensive set of custom bricks that work in a very similar fashion as FontStruct's default “Connect” bricks.
Bringing us to the main reason for 2022's version of this font.
STF_BLAUHAUS (Plus) was the font's second version, and most recent state that it sat in for the last year, up till this now. In this 2022 version of the of this font design modification the FontStruct editor's “Expert Mode” functionality was introduced into the design. Hoping to further manicure some of these compromised critical area's in an attempt to see what refinements could be implemented to revise the 2019's original version.
Now that the option to nudge, flip or rotate bricks was available, new more complex geometric shapes suddenly became possible. This sparked an explosion of new characters and additional alternative forms. Although now the FontStruct editor got vastly more versatile and potent, it remained strongly limited by that still present 1:1 brick size filter setting. Nevertheless, this made possible a very substantial update of the older font, and allowed many new shaping capabilities.
STF_VON NEUHAUS is the 3rd and final evolition to have come from my earlier FontStruct endeavours; STF_BLAUHAUS and STF_BLAUHAUS (Plus)
This version basically saw the transition from a font only using 1:1 brick size filter into a font at 2:2 brick size filter settings to unlock all power potential of the FontStruct editor's “Expert Mode” functions.
I could now write another eqyually as long body of text, explaining what's new in this final version or which other improvements were made, or say about it whatever the hell I want, but I figure that the picture becomes even more apparent when simply comparing the 3 fonts from old to new, and see the evolution happening before your eyes.
Start with STF_BLAUHAUS, folowed by STF_BLAUHAUS (Plus), and witness the full glory of "next-level" FontStructing that made possible the last version STF_VON NEUHAUS.
I hope you like it,
Cheers
This is a clone of STF_BLAUHAUS (Plus)Gr4ftY presents:
Bolden
Just a simple bold font.
feel free to give critique, as long as you have something helpful to say.
i would especially appriciate help with the greek.
thanks:
to @Kiên Trung for helping with the Υ
to @elmoyenique for helping with the y
to @Sed4tives for a bunch of bits and bobs here and there (c, t, and n, to name a few)
additional info:
X height: 5
Cap height: 8
letter width: 5
Filters: 2x2
Unicase font. You can find alternates to "A" & "E" at the lowercase "a" & "e" (and their accents, of course), an additional design for the "Q" at the "q" and a "c" typing the "¢" sign. This font is directly inspired on Nickel created by the cool typographer David Jonathan Ross from DJR Foundry. Why? I don't know if this will happen to any of you, but me, when I stop to look at a font that I like, I find myself evaluating how the author has solved the usual "design problems". There are times when I agree with the chosen solutions (the most), but there are others when I think I would do it differently. This is the case. I wanted to modify a bit the general appearance of some glyphs of the font, especially characters like C, E, F, G, M, Q, R, S, X, Z and more, or the numbers and some secondary others. The differences were extensives and are more or less subtle in each of the complete set... And here you are the final result, I hope you like it. I've learned a lot during this experience, and FontStruct has been shown to be a very valid tool to work at this level. Thanks for read my little explanation and enjoy with this work, please.
MOVIEMAX — Groovy bold & roundish 70s display sans
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Moviemax is a bold display sans-serif that has a groovy 70s offbeat look. Essentially an all-caps lettering concept with simple looking letters. The basic geometry and inversed contrast with its soft rounded finish create an immediate endearing effect.
The default characterset comes as all-caps (unicase) only, with no glyph alternative forms. It has been completed with additional symbols and punctuation marks.
To make thing a little more interresting I have also included a full (A-Z) alphabet set of small-caps letter modifications with drastically altered proportions. Complete removal of the inversed stressed contrast to make a more simplified and cleaner looking minimalist letter style. Their size was also reduced to 50% of the cap-height (scale ratio ≈ 1:2), providing an optional alternative for the missing lowercase forms in the font.
To finished off this extra set of small capital letters, another additional full (A-Z) alphabet set of large capital letters was included. These letters have also been scaled down a bit to better fit with the small capital letter set (scale ratio ≈ 6:8 or 75% of cap-height).
The 2 sets include a slight more unique and stylized level of sophisticated characteristics to the font, and when used combined together in a mixed-case text format creates nice text capitalization.
These alternative forms are located in the Halfwidth and Fullwidth Forms unicode block.
A set of basic punctuation marks that align with the small capital letters had also been included and could be found in the Halfwidth and Fullwidth Forms & Private Use Area 2 unicode blocks.
I hope y'all like it
Cheers
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
What’s your favorite letter?
Opening day of Marvel's "The Marvels" movie! Couldn't resist making a chibi version of Goose, the Flerken from the original Captain Marvel film. #StrongestAvenger
This allcaps font is meant to be used starting with a Capital letter, then lowercase letters following it. But no one will listen, will they?
This is a cloneThis font was created around the theme of decay. I took inspiration from shapes and forms within the pieces of a badger's spine and manipulated them to construct the alphabet. Here is my blog :) > http://hollydennis.tumblr.com/ website> www.hollydennisdesign.com
A tech-like font inspired (one more time) by some glyphs from Insider Bold, a work by the prolific Dmitriy Sychiov.
a little something I had in my head for quite a while already, finally decided to try and make it in Fontstruct.
No kerning done right now, but maybe some time later I'll do it. though even without the kerning it looks nice in my opinion.
Feel free to clone and see how it was done. (some glyphs like { are quite messy though)
also may redo some glyphs in the future.
UPDATE: cyrillic done
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.)
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