A neon-signs-inspired chromatic fontstruction for the Color Competition.

This is the third font in the db Artmix series.

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.

Bevelled + inline sans serif. Capitals only.

A fractured art deco font, crumbling under its own weight

Please enjoy~

this idea came out of nowhere, but i followed it and got this!

INNERCITY — Geometric future retro display grotesque
════════════════════════════════════
Geometric unicase display sans with a stylistic filled counter-like (Uc) set and monolinear 'bare-boned' geometric grotesque (Lc) set.

— Full alphanumeric dual-variant font !!
════════════════════════════════════

Elmoyenique's "zenzura" (a very stylish work in it's own right, make sure to check that one as well) anyway,
His 'zenzura' font kind of struck me with a healthy fresh dose of motivation. In the past I've explored somewhat similar style designs, but none of those ever really got consolidated into the extensive and complete work Elmo delivered with his stunning zenzura.
So I decided to dig up one of my older such projects and see if this new motivational boost could turn 'half'-a-font into a complete piece.

Long story short, this update is the result of that venture.
════════════════════════════════════

Where previously this project came in just one style (filled counters), with no additional glyph alternates. Basically a complete absense of the lowercase-string all together, and only very limited complementary set of symbols and punctuation marks were present. Neither did the previous version had a great deal of refinement in terms of metrics / kerning and overall horizontal distribution of type-set material.  So, it was nothing more than a plain doodle of the idea I had back then, that had to be preserved for a later stage.  
But being drawn into more recent projects at the time I eventually ren dry on motivation to fully finalize this I ended up publishing it in its rough state.
════════════════════════════════════

ABOUT THE UPDATE:

The'bare-boned' lowercase is a somewhat futuristic geometric looking form, whereas the filled uppercase set has a strong retro vibe.  

Combined in 'mixed-case' it can make a cool optional decorative style capitalization for your text. Used in isolation the two styles (Uc, Lc) both could be used as two seporate fonts, allowing stylistic text hierarchy.

In addition to the stylish retro-like, and partially filled forms I included a glyph-alternative set that strips the letterforms down to their monolinear core-geometric essence.
The design of this set is characterized by the spacious, sharp and clear appearance, that looks slightly futuristic but fashionable still.

With this new addition being the more legible and clean form of the two style sets, I placed this variation into the lowercase-string, making this the default-style for the font.
For the numerals, symbols and punctuations, I tried to remain committed to the stylish filled nature of the uppercase set.

A full alternative monolinear and 'bare-boned' numeral counterpart is located in the 'Full Width' Unicode block. Two extra weight variations for the brackets are also included for a more precise personal preference..

— And so it finally could respectably considered being a full font after all.

Thats all folks.. Enjoy !

cheers

Ligatures ff and tt at the fi, ff and fl glyphs. Hope you like it. 

VAN NELLE (Blueprint) — Geometric modernist sans
═══════════════════════════════════

☛ THE SOURCE
A re-interpretation of the 1926 geometric sans serif alphabet system reproduction by Jacob Jongert, published in a 1930 sourcebook by N.J. van de Vecht. The geometric uppercase set of the alphabet system is what would later become the famous sans serif capitals which he used for lettering throughout many of his Van Nelle materials.

☛ THE FONTSTRUCTION
Attempt at making a convincing recap of the original alphabet by Jacob Jongert as it was shown in the 1930s sourcebook, and extrapolate that into a full functional font. The decision to go with a small grid sparked a number of limitations in terms of the design freedom that forced some inevitable changes. But the general idea sort of became not to make it a revival, but rather more or less a faithful revision. One that would still be instantly recognizable yet didn't necessarily had to be all about accuracy.

☛ —The small grid design made sure this wasn't happening anyway!

But, for instance, the most striking difference between the two fonts (their weight) in fact is such a byproduct for one of those limitations. Something FS's small grid couldn't properly reproduce, so VAN NELLE (Blueprint) has a slight stronger weight, making the font somewhat of a bold style version of the original. This in addition provided me with slight extra freedom to inplement a little personal touch for further manicure of the font's finer details. Which allowed me to cope with some of the optical clunkiness that come with a fatter face and the grid based design.

Besides these circumstantial differences, which were basically beyond my control, I've also made some intentional changes to make the typeface more practical to use. The changes include things like the significantly lowered ascender height, the slight different width for certain letters, larger tittle (dot above i, j & ij), and several more. despite these changes I believe it very much still reflects what Jongerts once invisioned for the system.

☛ SOME NOTES ON THE ORIGINAL AND ITS CREATOR
Jacob Jongert(1883-1942) was a advertising designer from the Netherlands. After varied studies, including being Roland Holst’s assistant and an acquaintance and colleague of S. H. de Roos [who brought the Arts & Crafts ideas of William Morris to the Netherlands and devoted his career to book design and typography] with whom Jongert experimented with several printing techniques and discovered graphic design as his ideal art form.
¶ In 1923 Jongert rolled in a unique and long-term collaboration with the Van Nelle company, where he became head designer, a position he held until 1940. The Van Nelle company had an extremely modern approach towards advertising (they even commissioned Cassandre to do a poster) and Jongert created for the firm a recognizable image with clear shapes, powerful letters and primary colours, totally Dutch avant-garde in style, and with a strict and rigorous approach directly linked to De Stijl principles. The corporate identity he created has become a milestone in the design world.
¶ The lettering, however, is the driving force that ties it all together. The style is a straightforward set of plain, mono-linear, sans serif capitals in a style that just started to come into fashion in the late 1920s, early 1930s with the rise of functionalism and geometric type design. Yet, while these ideas were already thrown out there, its clever simplicity plus the systematic and cohesive way Jongert implemented his lettering was unusual at the time. The square and minimal construction of the forms allowed the letters to contract and expand to fit any situation, yet maintain a consistent and recognizable appearance throughout the Van Nelle line. ¶ Something we only recently have learned to appreciate is to see his hand crafted system amid the current advancements in variable-font technology, which offers a similar kind of flexibility to typeface designs. A quality that certainly placed him well ahead of its time.

What I particulary like about Jongert's original is the stuff that is going on in the lowercase set of the alphabet, which are those quirky lowercase letter inventions that are different from the more traditional modernist sans, but sadly the lowercase letters were pretty much never used in his works.

I created a simple PDF typeface specimen for those who want to see the high-resolution preview.

VAN NELLE (Blueprint) Typeface Specimen - (Issuu)

​​Thats all Folks ☚

☛ Cheers

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.

[Aa]: Argentina, Australia

[Bb]: Brazil, Bangladesh

[Cc]: China, Canada

[Dd]: Germany, Denmark

[Ee]: Spain, Ethiopia

[Ff]: France, Finland

[Gg]: Greece, Ghana

[Hh]: Hungary, India

[Ii]: Italy, Indonesia

[Jj]: Japan, Jamaica

[Kk]: South Korea, Kenya

[Ll]: Latvia, Lithuania

[Mm]: Mexico, Malaysia

[Nn]: Norway, Netherlands

[Oo]: Oman, Austria

[Pp]: Poland, Pakistan

[Qq]: Qatar, Guatemala

[Rr]: Russia, Romania

[Ss]: Sudan, Saudi Arabia

[Tt]: Turkey, Thailand

[Uu]: United States, Ukraine

[Vv]: Venezuela, Vietnam

[Ww]: Belarus, Sweden

[Xx]: United Kingdom, Israel

[Yy]: Yemen, Iceland

[Zz]: Zambia, Zimbabwe

[0]: South Africa, [1]: Estonia, [2]: Nigeria, [3]: Ireland, [4]: Czech Republic, [5]: United Arab Emirates, [6]: Democratic Republic of the Congo, [7]: Philipines, [8]: Iran, [9]: New-Zealand

[.]: Switzerland, [,]: Nepal

[?]: Cuba, [!]: Myanmar

[@]: Madagascar, [_]: Kazakhstan, [#]: Portugal, [*]: Colombia

[&]: Egypt, [%]: Peru, [$]: Somalia, [(]: Morocco, [)]: Croatia

See 

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

REWINDER - A bold and decorative "I don't have a clue" style font.

Alternative lowercase versions for (a, c, e, g, j, m, n, o, q, s, u, v, w, y, z)

=============================================

Usually I design fonts from a general concept I have in mind and start with the Latin alphabet first since I am most familiar with these characters. Then when I have completed these I start adding extra language support. letting everything evolve from there on out into the other languages such as Cyrillic or Greek. Doing it in this fashion I find myself having the best change of doing a decent job designing characters I am not familiar with the right way and in line with the design parameters.

This time I starten designing the Cyrillic alphabet first, trying not to think about the Latin set design at all. I did this in an attempt to have a neutral mindset that wasn't influenced in doing it a certain way.

And I must admit, this was the best and most comfi time I ever did a Cyrillic set. I experienced a sense of having a lot more freedom for creative output.

The result became this cool looking "hell knows" what kind of style letterforms. I have no clue if I actually did a decent and accurate job at the Cyrillic set, and I'm not sure where to go from here on out either.

I hope you like it so far

Cheers

Let's toggle letters. Uppercase are off, lowercase are on.

Ever seen a Z like that?

Opening Day of Marvel's "Madame Web" movie!
Keeping it simple with a shaded 3D extrude and red spider-sense lines.
I wonder if the Spiderwomen have the Peter Tingle? 

a sneaky little deco font with numbers hidden throughout~

(almost forgot to publish)

Caps only. Inspired by the cool font "Chwast Art Tone" -or simply "Artone"- (1968, by the legendary master of design Seymour Chwast), "Inkwell" (1992, Sam Wang) and "Dogsmoke" (2019, Humberto Gillan), and recalling the feelings of those unforgettable momments from the "Saturday Night Fever" times. Tony Manero lives! Thanks a lot to @Dmitiy Sychiov for designing these beautiful Cyrillic glyphs.

Inspired by a font I saw in a children's book. The artist had drawn a map of the world on canvas and used a tiny serif font to label important points on the map. The letters had such a cute hand-made feel to them that I just had to recreate it in FS.

Uppercase letters are 6 grid squares (3 bricks) tall; lowercase are 4.5 (2.25 bricks). IIRC nudging had recently been introduced; this definitely would have been impossible without it.

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

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

A legible christmas gift for y'all.

Inspired by drift phonk.

WILL ADD MORE GLYPHS SOON

Discoshar means Discoball