STF_DERBY - Condensed Geometric Neo-Grotesk sans.
The idea was to make a typeface design that would suit small point size body style typography.
■ Multilingual support (94 languages)
■ Partial kerning WIP (8694 Pairs and counting)
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The fontstruction is a Faux Bezier style approach, to allow the most freedom in shaping the different letterforms and curves.
Font sample is best viewed at 2x pixel size or above for a sharp result.
I hope you like it!
This typeface was inspired from Meatball, that was made from meat in Indonesia. I'm using round shape and fat stroke like a meatball. The leaf shape in the corner or inside the font was inspired from when you chop a meatball into four pieces from the center
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
₫€®¡$¤r¥:©¤₦₡€₧:¤₣:℗®¤_¤₣ I meant : 1. it's not a font because of the number of duplicates; 2. internet search engines believe the contrary (we deserve smarter crawlers); 3. it's an unfinished work (I felt lazy for not designing the filters beforehand - 2x2 grid combinations); 4. I'm unsure about the final license, esp. when I have released a sub-pixel '''''font''''' with the same method.
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
A typeface inspired by Indonesian Food, Sate Madura. Madura is a small island in East Java. They have a lot of traditional things which can not be found in another place. Their famous traditional culture are Sate (some people call it Satay), and their Madura pattern Batik. I decide to combine these contents into one typeface, and here it is!
BUISJES — Geometric outlined sans-serif design
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[ INTRODUCTION ]
While at first I was just updating one of my custom brick tool sets with some additional new pre-build custom composite bricks which seemlessly fit and allign with the dimensions of FontStruct's default connection brick set, the font more or less materialized as this happy accident while I was fooling around and constructed several basic letterforms and shapes for testing these composite brick solutions I was making.
Before realizing it I had about half-a-alphabet's worth of random letter doodles. From there on out I simply decided to copy the letters that came from this test run and drop them into a new FontStruct project and just resumed building the remainder of what would later become this rather modernist clean looking geometric outline sans.
Now, keep in mind that working with the constraints of these (largely 'Composite'-like) and somewhat oddball physically natured 'Connection'-bricks is very limited, and can be quite tricky. They simply doesn't allow the same level of design freedom FS's 'Core'-bricks do (E.g. the centre allignement, their thickness and that 30-bricks-only limited palette size for each of the three variations). To acquire some of that more distinctive and specific tailor made geometry usually requires clever brick arrangements that consist from a mixture of both multi-stacked-composites and brick overlaps to patch gaps and smoothen curve contours.
This process can sometimes become very 'trial / error' -based and unpredictable when complexity increases. Distracting at times, as it gets in the way of primary objectives. To constantly having to invent different new solutions that work simply doesn't help creative workflow. Therefor I decided to dive a little deeper into expanding my pre-fabricated'ready-to-use' composite brick palette.
[ ANALYTICS ]
So far I'm very pleased with the final result, especially with how easy this new set of custom brick composites turn out to create new letters. The bricks feel very intuitive to work with, and unlock quick access to greater sophistication and shaping of more complex geometry. Opening up several new possibilities that are impossible to construct solely from the default 'Connection' -brick palette. So having them at my disposal in a pre-fab fashion is certainly gonna help streamline the workflow.
[ THE FONT ]
As far as for the font's aesthetica, there isn't all that much spectacular going on really. The basic geometry provides a rigid solid looking lettering that produces this fairly legible text. The modern yet clean characteristics making it the perfect match for a broad range application.
• Multi-Lingual (105 languages supported)
• Some glyph alternate forms
• Kerning (1922 stored pairs)
The font name refers to its tubular characteristics and comes from the Dutch word Buizen, which literally translate to Tubes in English.
I hope you like it,
Cheers
This is a cloneZEPHTON (Pro) — 70's future retro / sci-fi style typeface
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[ INTRODUCTION ]
A revival of the Sci-Fi lettering used by the “Atlantic Toy Company” for their “Galaxy Serie”. A science fiction themed toy line that was manifactured from 1978 to the early 1980s.
The lettering seen on their packeging uses a modified and filled version of a typeface called Paperclip Contour, which was designed by Dutch graphic designer Ad Werner, and was issued by Mecanorma in 1973. There is very little information provided on the web in regard to the original typeface by Werner. And even fewer images. Nothing that show a complete character set, only FontInUse submissions. But taken from the research I conducted I can safely conclude that the original Paperclip Contour typeface has just one style, which is outlined, and that it includes a lower case(a-z) letterset with numerals and just a had full of symbols and punctuation.
That being said, this actually is the second revision I did for the lettering. The innitial first version had a super basic character set, as well as a couple of mistakes included alongside some compromises in respect to certain glyphs. This was due to the limited knowledge I had in regard to the use of the FS-editor at that time. So the font wasn't 100% accurate. This newer version correct most of the inconsistencies that were present in the older version.
Due to the incomplete resource material on the original Paperclip Contour by Werner I can't check accuracy of this newer version. But I think that apart from the thicker weight in Zephton its 99% accurate.
Where the older version ran short by a lot, this new revision in fact can qualify as a full font, with everything from numerals, symbols, puntuation marks as well as accented letters for more Latin languages. And ever some glyph alternatives. Making this much more of a functional font.
[ THE FONTSTRUCTION ]
The font is a “Unicase” style typeface that has only “Minuscules” included. There are glyph alternate forms for several letters as well as a secondary set of numeral figures. These characters are located in the Unicode blocks for “Halfwidth And Fullwidth Forms” and “Private Use Area 1”
There is also a full (a-z, 0-9) alphanumeric set with “Contour Outlined” glyph alternative forms, which is located in the “Private Use Area 2”
The font saw a major update that tied everything together, and sort of finalizes the font for proper use.
Several characters have received minor adjustments in order to find a balanced harmonic distribution of typeset material. Also several improvements have been made to the overall shape and form of various characters. In addition to that numerous new characters been designed, expanding the character set even further.
Work also continued in the metric department, building the kerning table, that contains 2368 stored kerning pairs so far. Spacing was reduced by 50% to tighten the letter fit significantly. To round things up and convert it into a more functional typeface some of the characters were rearranged and/or relocated to different Unicode blocks.
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[ CONTOUR OUTLINED GLYPH ALTERNATIVE FORMS ]
The contour outline glyph alternative forms are not 100% accurate conversions of their solid counterparts. This due to minor design difficulties that simply made it impossible to fully execute it at its current size and with this thin stroke weight. The deformities are simply the result of a lack in fully smoothened stroke contours in some of the transitions from diagonal to curved parts. These flaws are minute, and mostly only noticable at large size rendering, but nonetheless present. In small to medium size text these imperfections are hardly visible, and pose no real problem. Anyway.. the contour outlined glyphs are still very close approximations nonetheless, just so that it happens to be with a small number of tiny imperfections.
As a direct result of this the two sets with glyphs do not fully match and therefor not seemlessly overlap.
This can be ignored for most part in the majority of the font's application, but it does create two important limitations:
1) Contour outlined glyphs are unsuitable for vector path outline rendering when the stroke alignment is set to "Outside" (Configured like that with threshold for the corner point angle set to sharp these imperfections in the glyph contours can generate spikey disruptions to appear in the stroke rendering).
— So this configuration should be avoided.
2) The two styles are unsuitable (or incompatible) with stacked “multi-layer" overlay text compositions.
— Simply due to the fact the two variations aren't a 100% true match.
They do on the other hand, combine perfectly side-by-side in text composition.
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[ MORE LIKE THIS ]
There is also this other FontStruction that was inspired by Ad Werner's font Paperclip Contour, called Neue Werner Paperclip, this one was crafted by fellow memberfunk_king
Thats it for now...
Cheers
This is a cloneSTF_DAMAGE INC. - Tech inspired condensed geometric sans.
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It’s a modern rigid square-based geometric sans that was designed to work especially well in body style text. It was carefuly crafted to be a spacious but continuous fill.
The squarish geometry provides a slight mechanical looking, yet clean and very open basic design.
Each glyph was further constructed with more than enough negative space (white space), making sure any text will look brightly lit and feels well ventilated at all times. This is especially welcoming when having to read large chunks of body text.
The uppercase character set was constructed somewhat of a fraction disproportionally taller compared to the more naturaly proportioned lowercase character set. This to make any line of text that is set in 'all-caps' to bring the impression of being condensed.
This effect is then exaggerated even more by slightly pulling back on the extent of any ascenders and descenders on the lowercase characters.
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I am pretty pleased with the result, it's overall look is fairly consistent and legible. The condensed effect allows squeezing a good decent amount of horizontal text per one single line of type.
The only thing kind of dissapointing to me was it's smallest possible point size in digital display use. It doesn't do well bellow 20px (14.5pt)in digital format.
20px is the absolute smallest size for everything to look crisp and alligned with the pixel raster, going bellow this point and the font starts to become blurry and distorted.
I wonder what any of u type wizards think so far...
Cheers
DIDUDE (Regular) ― 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.
━━━━━━━━━━━━━━━━━━━━━━━━━━
Main distinctive features for DIDUDE (Regular) are:
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..
━━━━━━━━━━━━━━━━━━━━━━━━━━
Here is a link to the other font style in this typeface family:
STF DIDUDE (Condensed)
Cheers
This is a clone of STF_DIDUDE_(Condensed)OBLONGUS - Modern light weight monolinear geometric sans
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■ Description:
Light weight monolinear geometric sans.
■ Design summary:
One of the most striking features is it's overall well ventilated, light weight and spacious appearence. Some other key features are the glyph's elongated ascenders and descenders. These give the font a somewhat condensed and stretched look. An additional side effect of this is the extra empty vertical space above and bellow a line of text. Contributing even some more to the already ventilated character of the design.
Another key feature are the stylish rounded forms and novel long spurs. I tried to find elegance in it's simplicity, the decorative elements, turns and twists were all done in a very gentle but clearly present manner. All working together these elements give the font a very welcoming, friendly and laid-back vibe. Extra's, such as glyph alternatives will help spicing things up even a bit more.
So, while trying to remain simplistic in nature the font does have some nice stylistic appeal for sure.
■ Tech specs: (measured in square grid units)
Glyphs dimensions: 16 × 8
Weight: 0.125 (1/8th)
Brick size filter: 2 ꞉ 2
■ Font features:
▪ Basic-Latin, punctuation & symbols
▪ Lining & non-lining (oldstyle) numerals
▪ Glyph alternatives
▪ Partial kerning
■ Update history:
▪ [06-24-2022]
Basic font created
▪ [06-24-2022]
Changed lowecase 'w' with a wider version
▪ [06-24-2022]
Made cursive style lowercase 's' & 'tailed z' glyphs as default style
▪ [06-24-2022]
Partial kerning applied
▪ [07-24-2022]
Added multiple sets of numerals styles
- Lining (default style)
- Non-Lining (Oldstyle)
- Double Struck
(Slight different, extra decorative, more leaning towards classic style)
▪ [07-24-2022]
Included random stylistic glyph alternates, special characters & ligatures
- Additional extra characters will follow next update
I hope you like it so far
ALIEN WORMHOLE - Monolinear Sci-Fi-inspired 'worm' typeface.
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[Historic snapshot:]
Most well known worm-type design probably is NASA's retired 'worm' logo (used from 1975 till 1992).
A sophisticated modernist rendering of the letters (N-A-S-A), done in a bold style letterform.
That being said, I should mention that this FontStruction wasn't "inspired by" or "based on" the original NASA logo though.
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[About this font:]
Small grid attempt at making sort of a experimental futuristic 'worm'-type design.
The letterforms for the most part are build from simplified basic geometry (rectangles/circular) except for a small number of symbols and punctuation that have diagonals.
It's experimental appearance is defined by the strikingly quirky counters that are awkwardly jutting out of the stems. To further boost it's awkwardness the letterforms have irregular width.
There is a full set of uppercase and partial lowercase glyph alternatives located in "Half Width Full Width" Unicode block to add slight stylistic variations.
I hope you like it,
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Here is a link to the 'Bold' version
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Cheers!
Inspired by the RoboCop movie logos -- Solid Version. Now includes full character set. For outline version, see the upgraded "Alex Murphy Outline" font; for dingbats of OCP logos, see the "Alex Murphy Dings" font. Type "RoboCop" into the View-User Input option to try it out!
July 31, 2021 update: Version 2.0. Diagonals and lowercase crossbars were thickened, and diagonals now cross into the vertical strokes. Now more movie accurate than ever!
This is a cloneORIENTFAHRTEN (Pro) — Semi-connected script-style font design
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Losely based on the lettering that was seen on a 1929 poster design by German painter Ottomar Carl Joseph Anton (1895-1976) for the “Hamburg-Amerika Line” * (click for image of the original poster)
Whereas the original (non-Pro)-version aimed at extracting that “stylistic essence” of the lettering, and made an attempt at extrapolating and restoring a full alphabet from the letters provided by the original poster. And this basically became sort-of a font revival with a little extra's.
ORIENTFAHRTEN (Pro) than took this to a whole other level, This refor-mation wasn't guided by Ottomar's original poster-lettering, but rather a remodeling and amelioration of my initial work.
Many glyphs were fully re-invented, others only just partially improved.
In addition to this, many new things were introduced as well. For example, the font was further ornated with various typographic elements and bits, reminiscent of calligraphic hand lettering. Turning this into a much more attractive looking little novelty.
Also some “technical” restructuring of the Unicode character mapping, to creating more user-friendly text formatting properties.
Since it is a semi-connected script, certain characters were deliboratly disconnect and some weren't. For example, the uppercase letters almost all disconnect, whereas the majority of lowercase letters will connect by default. A set of glyphs alternate forms was included that allow to break the 'connected' flow of a text.
These also function sort-of as “Contextual Substitutions”, but without OpenType's automated glyph-stream lookup classes. Yet these do allow the manual control over word-endings and word-space situations. So when a default-glyph is followed by a white-space, a glyph-alternate form could than be selected to replace the default-character encoding and improve overall aesthetics and natural flow of text. These substitutions are located in the “Halfwidth and Fullwidth Forms” and “Private Use Area's” Unicode blocks. In addition to the default alphabet letters the font also includes numerous symbols and punctuation marks, as well as ligatures.
As for the “numberscomp” that is currently in progress:
This font was specially fitted with 5different schemes for text figure arrangement.
• Didot-(old style) non-lining (font default)
• Traditional-(old style) non-lining
• Clean-(modern) lining
• Tradidotional-(old style) non-lining
• Ornate-(modern) lining
— This does temporarily create a new problem for me though... As this would be my fourth submission to the competition, where a maximum of only three font submissions is allowed. Now, which of these previous entries am I going to eliminate?!
I hope you like it,
Cheers
This is a cloneA font perfect for a pixel-based game. Also includes box drawing and block symbols.
Aso see this font by Patrick H. Lauke and this font from Goatmeal, which has some similar letters this font. I made this font in the final days of Everybody Edits, although the letters in the (probably lost now) world have some details that are different from this font.
This font has been expanded to cover CP437, along with (some) legacy symbols.
I still wish we can create a custom .notdef character so we don't have to have the default one on downloaded fonts without having to use FontForge or Glyphs to change it.
STF_V0N BRAUN - Simple geometric sans-serif typeface.
I tried to recreate the Braun GmbH logo type from 1952 and work it out into a full font, I used only the five letters in the logo as a reference. Since there are a bunch of revivals out there already. I just did my own interpretation of it.
Enjoy!
Westmobster NRC — Magnetic Ink Character Recognition style
A typeface design inspired by the MICR aesthetics style.
I haven't checked and compared this against any of the others already in existence, but due to this it's obvious that this is going to share several resemblances with other similar fonts that are out there.
But I'm pretty confident that this isn't just your next Westminster or Data70.
Just to point out one of the unmistakable difference here for example, is the more distinct Sci-Fi characteristic, which is especially strong within it's uppercase set.
This sort of fonts have been strongly associated with computers technology, especially in the late 1960s and early-to-mid 1970s. Nowdays these lettering concepts are frequently used to indicate computer involvement in television series, films, books, music fashion and several other media.
In the 1960s, the MICR fonts became a symbol of modernity or futurism, leading to the creation of look-a-like "computer" typefaces that imitated the appearance of the MICR fonts.
It still requires some minor adjustment and tweaks, but the global concept is finished.
Let me know what you think,
Cheers
TUBULAR LUMINII - Rounded inline display sans
◇◆◇ ❒ CONCEPT ■ ■
⇛▸⇛ Font that mimics electrical gas-discharge tubes (Neon)
◇◆◇ ❒ BACK STORY ■ ■
A larger potion of the Neon-fonts that are found on the web often have these quite strong emphasis on their decorative design aspects, and a lot of them come in elaborate looking complex styles and form. Besides the numerous optional different personalized conceptual decorative elements implemented into the design, many typefaces also regularly use more commonplace modifications such as; ▸multi-linear, incisions, patterned etc.
◇◆◇ ❒ THIS FONT ■ ■
Instead I went with a clean, simple basic geometric letterform, one that is essentially mono-linear at it's core. The one major key element that I have incorporated to the concept is that unmistakable in-line stroke. This was done to give it more of a convincing 'tubular'-concept as is the case with a real neon gas tube.
The other less pronounced but nonetheless fundamentally important design feature are the closed stroke-endings. Apart from being this extra little personalized element, it also suits a technical purpose. That of which is; "To fully preserve all 'in-lined'-negative (white) space in full isolation". This enables somewhat easier 'end-use' access to layer atributes or compound paths in graphic design software.
◇◆◇ ❒ FS TECHNICAL ■ ■
It's constructed mainly of connector bricks and a set of custom composite bricks, expanding FS's default connection brick set. Enabling greater viariational depth and complexity for custom shaping.
◇◆◇ ❒ FS METRICS ■ ■
❖ ❖ Metrics ⇒ 〔measure in ⇒square grid units〕
〘▸〙〔Glyph Metrics〕
○ Brick Size Filter: ~ 2 : 2
○ Cap-Height: ~ 4.5 ✕ 4.5
○ Ascent / Descent: ~ 0.5 ✕ 0.5
〘▸〙〔Font Metrics〕 ❖ ❖
○ Font Size: ~ 7.5
∗ Full Em square (incl. ⇒ symb. & punct.)
More soon..
Cheers
This is a clone