TYPOGRAAF — Geometric modernist display typeface
Typograaf is simple looking modernist style aimed for display use. It doesn't work well in a long line if text nor at smaller sizes. But perfect for large display work, logo's and such. The letterforms have several little nuances and multiple custom crafted curved parts with smooth (near) real Bézier contour quality.
So far only general concept plus some extra's was created, no multilingual suport for now.
Let me know what you think
GROOVERIDER — 70's future retro display sans
Grooverider is another groovy looking display style with that distinctive 70's retro aesthetics.
The concept for the lettering is that of a solid future retro / space-age style with inversed-stress. It's reversed weight contrast adds some additional groovin' funkyness and good old boogie wonder flavour to the font's overall characteristics. Making it somewhat of a hybrid mixture between two distinct 70's and 80's retro styles.
Simple at the surface, but rather complex down at the Editor level, since the letterforms have several tailor-made geometry and curve shapes. Pulling off some glyphs without disrupting the (near) real Bézier curve geometry was tricky I must say. Like for example the joined letters such as lowercase Æ/Œ, question mark, @ sign, number 2 digit, percent sign and lowecase letter S all proved difficult. But also some unlikely ones that are typically pretty straight forward now were trickier within the font's parameters. But I'm pretty satisfied with the end result so far. Little to no compromising imperfections slipped into the design, one or two real minor ones are present, but only truly become noticeable once the size is fully blown up.
It was very fun to make though, I hope y'all like it...
CheersThis is a clone
SPOKOYNOY NOCHI — 1920's Art-Deco style
This is a simple monolinear Art-Deco unicase font. Upper & Lower case glyphs are the same sets. But in addition to the unicase (default style) there is a full alphabet of glyph alternate forms located in the Half Width And Full Width Forms Unicode block.
I done global kerning, but extra pairs are still required..
I hope you like it,
BEACH RESORT — 1920s Art-Deco style
Beach Resort is a tall geometric display sans inspired by the Art-Deco aesthetics.
It's condensed style makes up for a rather tall and narrow looking letter concept. The design is further characterized by this distinct asymmetric curve geometry. A tiny touch of stress was added on the vertical axis to create this gentle stroke contrast. The stressed weight of the horizontals automatically compensating it's optical correction issue.
— Only minimal kerning for now, more will be added soon
Hope y'all like it,
BATAVIER (Pro) — Geometric display sans
[ MEMOIR ]
Revision / revival of the geometric lettering seen on a 1916 Dutch litho poster for the Wm H. Müller & Co.'sRotterdam-London passenger service called Batavier-Line(Batavier-Lijn in Dutch) which was originally designed by Bart van der Leck(1876 - 1958).
The Batavier Line existed from 1830-1960, and was the oldest steam shipping line in The Netherlands.
[ UPDATE INTEL ]
A couple of small changes were implemented compared to v/d Leck's original lettering. Most significant is the upscaled Ampersand, but numerous other small cosmetic or optimizing modifications were made as well.
I completed the full alphabet plus numerals and included additional symbols and punctuation marks to make it a fully functional typeface. The lettering is all caps (majescule) only. Some lowercase letter locations harbour a glyph alternate uppercase form as could be seen in the original litho poster source. Another bunch of alternate uppercase forms and underlined “superior” small capital letters were located in the “Halfwidth And Fullwidth Forms” Unicode block. In addition to that it has accented Latin letters for multilingual support. Also two resized alternate forms for the Ampersand and two stylish ligatures have been included.
[ SUMMARY ]
This is actually the second revision I did for the litho lettering by v/d Leck. The first attempt was made using a (faux-) Bézier approach, resulting in a huge grid canvas (168 grid units / bricks tall monstrosity). This made it a lot of hard work to build and for some letters impossible to properly implement kerning since FS values only allows min. -10 / max. 10 of grid units for kerning.
As part of the endeavor to refurbish some of my older FontStructions STF BATAVIER was one of those that was in serious need of some overhauling as well. The problem it presented was the font's cap-height. It was actually so tall and impractical to work and / or modify, that the first revival attempt never really fully materialized beyond a basic character set.
A full glyph only fitted on screen with the FS-editor zoomed-out max. and my browser zoomed-out at 30%. At this scale not only the canvas grid lines in FS's editor all but dissapeared, but it also resulted in a down-sized brick (or 1 square grid unit) with on-screen rendering at only 3×3 pixels, as oposed to 64×64 pixels with the FS-editor's default zoom settings.
So imagine selecting a tiny 3×3 px speck when working the glyph canvas at brick level to modify glyphs... pretty much impossible. Now, the other situation wasn't a whole lot better. This had the browser's zoom restored back to 100%, making the glyph canvas at brick level “workable” again. But in respect to the cap-height this only renders a very small section of the glyph on-screen. Requiring a huge deal of additional canvas navigation in FS's canvas editor, better known as “Pan the view (H)”, which is done with the hand tool.
And well, as many of you will know, this is an absolute bummer When navigating (or panning) a glyph bottom to top requires 3 full canvas swipes.
So yeah, the only way for an extended version ever to materialize was to be rebuild it from the ground up at a much small scale, using very different measurement ratios compatible with FontStruct's kerning.
[ TECH INTEL ]
This second revision attempt successfully reduced the font's cap-height down to a comfortable 5 bricks (or grid units) tall and Em-square of 7 bricks total. Some optical compensations were implemented to certain elements such as stroke weight corrections and careful minute differences in vertical positioning of letter mid-section elements.
For now thats all Folks..
SEADWELLERS — 1920s Art-Deco Sans style
I was somewhat inspired to do a Art-Deco style lettering of my own after seeing the stylish Art-Deco flavored FontStruction Aquamarine by IronClaws
Other than that the two fonts remain unrelated and Seadwellers poses no resemblance to Aquamarine. Instead I sort of did a 1920s Art-Deco style lettering with thin geometric letterforms. It's comes as a Majuscule only and the letters have nice quirky width variations, with some letters appearing almost extended, while others are more narrow.
— The similar aqua-themed concept is merely coincidental.
Only basic character set!
It remains a WIP for now..
MOVIEMAX — Groovy bold & roundish 70s display sans
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
VOLLE BUISJES — Geometric sans-serif style
[ INTRODUCTION ]
This font had derived and materialized from my previous FontStruction called Buisjes, and had innitially been planned to be made into this “solid”-style instance that would've then were to be combined and included to the original master font. That idea was later canceled when I decided not to make this part of the “Buisjes”-typeface.
I still went on completed it though, but I was now simply treating it as this unrelated new font instead.
The original “outlined”-variant still stood testimony in this second stage of development, as it served as the global basic backbone for this. But, since it now no longer was bound by accurate representation I could start utilize more dynamic sculpting techniques and make minute adjustments that incnclude some optical corrections, as well as implementing a slight more polished looking geometry.
[ TECHNICAL BACKGROUND ]
I took a clone from “Buisjes” and started modifing it into this new solid style. What I basically did was utilizing the “brick swap”-method in the FS-editor to replace every brick inside the font's “My Bricks”-palette. By doing so, essentially converting the font one-brick-at-a-time into this 1 : 1 conversion of its source without making any additional changes to the actual glyph-contours.
After a while due to some undesirable result that came from replacing the original bricks the design took a different turn when I started realizing that making an exact 1 : 1 conversion into this solid style wouldn't generate the most desirable looking font. This new solid version that was rendered from the “brick swap”-process seemed to have several optical complications, that when compared to the original outline version, had quite the different effect on its physical properties as well as the aesthetic quality of the letterforms, and had far less visual appeal. These newly presented optical misfortune also had a direct negative effect on the font's legibility. In oder to gain a better understanding as to why it took a toll on legibility some additional thing needs to be explained first, to make sense of it all later. This explains in short the visual effect of added contrast that comes from that “bi-linear”-characteristic nature of the outline version, which employs so much more emphasis to the font's overall geometric properties of various form, and therefor to the contour shape of a glyph. In return this has a direct impact on the overall effectiveness of these forms.
The reduction of this additional contrast within the font's “positive vs. negative”-whitespace balance for the solid version results in a letterform that has a rather weak representation of its several typographic components as well as for each of the individual letter-parts that form a whole, which also help to distinguish one letter from another. In simple words this means that a solid style lacks a lot of that emphasis that is present in the the original outline version, and makes for a far less pleasant and effective font.
Another issue I had with the 1 : 1 identical conversion was the unanticipated but pretty drastic deterioration of its initial “wow”-factor in the solid version that was generated. No longer beneficiary from additional added value that came with a more “decorative”-characteristic that is present within a outlined glyph contour. Also the “bi-linear”-nature of the outlined letters sort of gave the impression it was putting double the emphasis to the typographic parts and the geometric properties that make up each letterform. The rather squarish “box”-like characteristics of the lettering became much more evident in the solid glyph face. Shifting visual focus from the previously more ornate display attraction away towards this more “mechanical”-style that is this rather plain and somewhat shallow looking flat faced letter.
All of these were things that worked out just fine in the font's outlined version, but not so much in terms of a solid “filled”-like style.
Here are some of the things that cause trouble within an exact 1 : 1 conversion into solid bricks:
• Enclosed typographic elements render much thicker than what is considered “acceptable”
(requires optical correction)
• Diacritics render too thick and often too big
(requires a complete re-design)
• Radius of FontStruct's default solid circle arc connection brick is too small
‣ Making a solid font constructed from these to look compressed
‣ Arc intersection point not sitting deep enough
• Reduced emphasis in depth of geometric form
‣ Simple rather “feature-less” and “squarish”-looking geometry
(both requires numerous custom composite bricks in order to break-away from these constraints)
— The combination of the above in terms of the appropriate adjustments required to make optical corrections in order for it to have balanced proportions will have such significant impact to certain aspects of the physical presentation of the letterforms that they no longer share that seamless overlapping cohesion, and it couldn't really classify any longer as being this solid / filled style instance to the original master font.
Essentially what this meant is that I have decided not to make this part of the “Buisjes”-typeface. I still went on completed it though, but now simply treating it as a new unrelated font instead. The original outlined version still stood testimony as it served as the global basic backbone for this. But, since it now no longer was bound by accurate representation I could start utilize more dynamic sculpting techniques and make minute adjustments. Include some optical correction, as well as implementing a slight more polished looking geometry.
That wasn't all (LOL) but yeah I'm done typing for now!
Hope you like it, more info follows..
CheersThis is a clone of STF_BUISJES
PHOTONIA (Pro) - 70s future retro style
70s style reverse contrast sans with future retro aesthetics, perfect for projects with a vintage sci-fi, space age or computer theme.
This is actually a refurbished and extended version of an older FontStruction I did back in 2019. The original PHOTONIA was a cool looking little work, but didn't quite made the most of its design concept. Inexperience and poor design decisions had led to inconsistencies and other flaws throughout the font. Besides those it also had a small character set that mostly consisted out of the basic Latin block and bare essential symbols & punctuation marks. But imo it still had quite an interresting retro vibe and the potential to be more. So I decided to give the old project some well deserved refreshments.
First I started eliminating the inconsistencies that were present in the older work, than I continued polishing and re-design / modify several characters hoping to create a greater overall unity to the entire piece. Once I was fully satisfied with this renewed improvements it was time to build and expand the character set towards a more complete lingual and typographic support.
➜ ⚠ Previous Version:
▶ Basic Latin only
▶ Minimal kerning
➜ ⚠ What's New Inside:
▶ Additional Latin and accented Latin
▶ Many glyph alternative forms
▶ Additional symbols and punctuation marks
▶ Horizontal box drawing (page deviders)
▶ Typographical symbols
▶ Ornamental printer's characters
▶ 1680 stored kerning pairs
CheersThis is a clone
JS-PTT 1975 (INLINE) ― Geometric modular typeface system
Another font addition to the ever evolving and growing collection of revivals and inspired works called LETTERS OP MAAT, a project celebrating and trying to recreate the typographic contributions originally designed by Dutch graphic designer Jurriaan Schrofer. This time I did sort of a revision / recap based on Schrofer's 1975 trichromatic sketches he did for the PTT (TD) the technical department of the Dutch State Company of Post, Telegraphy and Telephony (PTT) that featured a style variation to one of his alphabet systems.
JS-PTT 1975 is a typeface family of three font styles called (SOLID), (INLINE)and (OUTLINE), that seemlessly overlap for combined multi-layer capabilities. Allowing easy multicolor replication similar to the original sketches and more, but also to provide three different isolated forms for individual use as separate fonts.
Now, without diving too deep into the man's biographic profile I do want to point out the following; ―Despite the unprecedented amount his typographic brilliance has contributed, he remains relatively unknown, but certainly no stranger among real typ-o-philes. Schrofer was light years ahead of its time. The level of crafmenship he put into his work was often overshadowed by his mind-blowing experimental, at times even bizarre and psychedelic typographic approach on letterforms, and can easily make one not truly realize the amount of expertise and skill often on display. Therefor he probably remains best known for his extravagant endeavours in book design.
Between 1973-1979 Schrofer worked on a assignement for the Dutch client called PTT (TD) this was during his time with Total Design. For the PTT (TD) Schrofer worked on a big multi project assignement he himself cataloged "Bewegwijzering Girokantoren". This essentially was the design of multiple visual identities for floorplans of 3 office buildings owned by the company. The project gave birth to several new style variation for several of his alphabet systems, one of those was this variation that introduced the rounded corners to some of the letterforms.
This particular recap was based on a alphabet system seen in numerous of sketches Schrofer designed in 1975 for the Dutch ministry of welfare, public health and culture (WVC) department for aesthetic design with the PTT. Part of the technical service at the PTT, responsible for the visual logistics of the company. The PTT, at the time a state-owned multi-utility company providing countless services. All the letters originally provided in Schrofer's sketches are included, I designed all the missing letters plus a couple of alernatives following the original's design parameters. In addition to that I designed and included numerals and some symbols and punctuation marks as well.
During my studies of Schrofer's work I noticed that various alphabet systems reappeared in many of his works. Further research showed that throughout his carreer he seemed to have developed and pre-fabricated multiple alphabet systems, variations and concepts that he constantly reused, refurbished, and recycled over the course of his carreer. Therefor it can be difficult to pin point the exact origins for some of his lettering concepts. Which is something I learned along the way and did not really anticipated for when I innitially started this LETTERS OP MAAT project, so some of my ealier fonts for this project haven't exactly all been properly researched.
For example the lettering concept seen in one of his designs for the PTT (TD) had already appeared two years prior of this PTT materials, when it was used in the 1973 brochure called Grafiek Per Postbode for Galerie 33. This brochure shows the same alphabet system that he later reuses for one of the PTT office builing floorplan designs. The brochure features an outlined variation of that same alphabet system for the text Heading, and a rounded mono-linear variation to this same alphabet system for the Subheading. This mono-linear variation itself had been used in the work for The Beurs van Berlage (Foundation) as well [IMAGE], the Beurs Van Berlage is a Dutch commodity market building located in the centre of Amsterdam. The alphabet system later then got digitalized for implimentation in the Dutch passport, and was acompanied by several additional derivative styles to this mono-linear version of (you can probably guess it) that same alphabet system, including a 5x7 Dot Matrix. Schrofer's design concept for the Dutch passport eventually never got used. And there were several other reapearances of the alphabet with several clients throughout his carreer.
I know it once again is a lot of info to digest, but I want to portray a proper image of the whole story that involves this project as well as it's font contribtions, so I can't help myself here, lol. But I'm pretty certain there are people out there that can appreciate this informative background, so I hope y'all didn't mind it too much.
The full font family could be found here: STF_PTT 1975
Interrested in more of my Jurriaan Schrofer inspired? Please take a look a my complete collection of Fontstructions tagged with STF-LETTERS OP MAATfor the full catalog of fonts I contributed to this project so far.
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.
PDF SPECIMEN WAS DELETED
Thats all Folks ☚
FAKOS VARYTITAS - Futuristic Sci-Fi stencil design
A Stencil letter with a rather unorthodox form.
The main concept is that of the Sci-Fi / Tech aesthetic. But the asymmetrics in its geometry, various custom build curves and incisions somewhat tune down the mechanical geometric tone of the letterforms, and introducing a slight more humanized touch to its rhythm. These non-traditional attributes making this more of a novel stencil typeface with a strong personality.
The typeface was inspired by space age tech. Its a display style font that is perfect for when your project has to have that typical techy or futuristic aesthetic look. Its best used at large size, but it does work in smaller size format as well.
The font includes:
• uppercase, lowercase & numerals
• accented latin
• symbols & punctuation marks
• some glyph alternatives
• ornamental decorative elements
All "lingual" characters are functional stencils, the only exceptions that aren't stenciled are the ornamental decorative symbols and dingbats.
CheersThis is a clone
ARS NOUVEAUX - Art Nouveau inspired display typeface
A personal digital reimagination of the lettering style by "Charles Rennie Mackintosh" (1868-1928), a pioneer of the "Glasgow School of Art" and so called "Arts & Crafts" movement.
His distinctive style of lettering has been seen many revisions, revivals, reimaginations and inspired designs alike over the years, and has evolved into a broad collection of available fonts.
This basic stylistic lettering concept from Mackintosh sort-of losely funcioned as the structural guiding principle for the creation of "Ars-Nouveaux".
This FontStruction is an experimentation into creating similar flavored, but still unique letterforms within that same design framework.
First I started to layout the overall basic asymmetrical core geometry from a set of custom rectangles, half arc's and slants for each of the letters bare skeleton shape. Once I completed the full set of 36 glyphs [a/z, 0/9] These basic shaped were then further modified into more sophisticated finalized letterforms.
Caps-only, but with many alternates, accompanied by a set of ornate initials.
Hope you like it,
CheersThis is a clone
ZEPHTON (Pro) — 70's future retro / sci-fi style typeface
[ 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.
[ 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.
[ MORE LIKE THIS ]
Thats it for now...
CheersThis is a clone
Opening day of Marvel's Spiderman: Across the Spiderverse!
Timing has been off as of late, with FontStruct error messages of the server being down, but only for this particular font. Other software has also been uncooperative. But there is a universe where everything went fine and there were no problems, but this isn't that one. Weird things also happened with saving the font, where after saving, it just decided to do a global brick swap. Posting it with glitches and all, and I'll fix it later just because. And I swear I hit the Publish button, but hours later, it still said it was private. Let me try again...This is a clone
Opening day of Guardians of the Galaxy Vol. 3!
Celebrating with a spacy star filled background texture, bombarded by comets infiltrating multiple dimensional planes of existence. "Guardare" is Italian for Guardian.
LUCERNA — Neoclassical stencil serif
Lucerna is a modern neoclassical stencil serif in the Didot style.
Simple & Elegant...
Created primarily with the focus towards luxury fashion and marketing brand-oriented projects, aiming at luxurious and sophisticated design projects.
Although it’s a true and fully functional stencil, design focus wasn’t so much
concentrated around the 'functionality' part of the stencil concept. Instead it was more focussed on the stylish implementation of the concept and on making sure it looks pretty.
The stencil concept was achieved by way of stroke omissions. Some of which are large and drastic, leaving only critical parts of the stroke intact, while others are more subtle, like those detached crossbars or cuts seen in the hairlines.
Thin transitional bracketed serifs and a mixture of various sized teardrop- and pointy terminals, combined with the high stroke contrast, these make up for a sharp and interesting looking font that provokes this thoughtful stencil letter concept.
There is a lot of subtle dynamic height deviations going on, hoping to tune in to more of a lively rhythm, and introduce some playful characteristic properties.
Minute changes to optimize optical performance have also been implemented, such as overshoots. The relative low cap-height makes up for a somewhat short and stocky uppercase quality. Its accompanied by a relatively tall x-height that results in a fairly large lowercase size. Due to the lower cap-height of the font, the short ascenders parts of the lowercase letters still exceed above the Cap-Line, preserving some of that otherwise lost white space, improving legibility.
The design's missing segments and various random detached bits 'n pieces aren't as functional in smaller sizes. Making it harder to read or distinguish detached letter elements from puntuation marks. So it is best used for display purpose.
A small number of glyph alternative forms are included as well:
• 2 forms of lowercase letter a:Single-storey and double-storey (default).
• 2 forms of upper- and lowercase letters Ss:Pointy terminals (default) and teardrop terminals.
• 2 forms of upper- and lowercase letter Tt: Uppercase letter T has two variations of pointy terminals, normal angled and extra angular. Lowercase letter t has alternative form with teardrop shaped terminal to use at the end of words, and can add a slightly more stylish look. The default version has better proportional width with just a small non-decorative curved terminal, this default form has smaller width for a improved horizontal text advance.
• 4 forms for lowercase letter g:Just 3 additional extra slightly alternate forms.
• 5 forms for lowercase letter f:Bracketed (default), curved, teardrop narrow, teardrop extra narrow, teardrop wide.
• Extra set of Copyright symbols:Cap-height size and x-height size.
• 5 forms of Pilcrow symbols:Just 4 additional extra alternate forms.
It covers most basic Latin languages, 65 in total so far.
Several symbols and punctuation marks are included. (probably more later)
I hope you like it so far,
CheersThis is a clone
UNION WEST (Display) ― Classic Wood Type inspired slab serif
This is the 'Display'(bold weight) version for the "Union West" typeface family
[About the "Union West" typeface]
The idea was to craft a typeface that resembles a vintage wood block lettering style. The design is a sturdy looking geometric form with small wedged slab serifs, straight beak terminals. It comes with two weight versions, 'Display' and 'Text'. The Display version is a bold style that has medium weight contrast and aims for headline use, the Text version is a thin style with only mild weight contrast that is heavily condensed and aims for body copy use.
➥ More characters will be added within the following days.
The other font in this family is found here:
UNION WEST (Text)
I hope you like it so far, let me know what you think
LEOPOLD PRO (Serif-Regular) — Modern geometric condensed slab-serif
This font is the second style instance for the newly launched "Leopold Pro" typeface family, and is kicking off this new family of fonts.
The first one came as a minimalist, geometric sans serif style, this second font adds a serif style variation to the family. Both the "sans-regular" and "serif-regular" styles have identical visual properties for size and weight to allow seamless combination of the two, and as the name already suggests, represent the "Regular" style for the family.
Motivation for this was to craft a slab-serif style for the original geometric letterforms that has strong antique mechanistic qualities to add somewhat of a typewriter characteristic.
The relaxed optical proportion, short unbracketed serifs and open spacing results in clean and pleasant to look at text. Largely thanks to these properties it is still relatively legible in terms of a slab-serif style.
The other style can be found here:
LEOPOLD PRO (Sans-Regular)
Two additional extra "Light" and "Bold" weight classess are also currently in development, both remain works in progress for now, but are expected to be included in the future.
I hope y'all like it so far,
CheersThis is a clone of STF_LEOPOLD Pro (Sans-Regular)
STF_NEUE ISAIAH - 70's Art Deco / Streamline style typeface
Most of the design credits for this font should go toIsaiah Garciasince I took the liberty of revisiting her fontstructionFS Idea
Please check out this member's awesome contributions here:Ivy Meadows (Isaiah Garcia)
The one major difference between the two works is the grid size and construction method, Isaiah's version was made using a faux-Bézier approach (very labour intensive) and requires a fairly large design grid, whereas my version is a small grid design, utilizing the circle arc bricks and composites to achieve smoother contour quality, and was done on just a 4x7 grid using 2:2 filter.
This different approach and limitations in small grid designs have led to a number of small changes for certain glyphs. Also have I change some details slightly to my personal preference. But it remains very much Isaiah's design.
I tried to remain as faithful to the original font as possible, and in addition tried to further expand the character set. Most important differences made in my revision are the additional lowercase chatacter set (spurred strokes), the uppercase alternative forms / lowercase alternative forms (spurless) and extra symbols.
Enjoy!This is a clone
Third font in a series of three colour pixel experiments, made after reading Arcade Game Typography: The Art of Pixel Type by Toshi Omagari. This one has a double shadow, which gives an extruded 3D effect at a smaller scale.
Started this font on a whim on the phone while having my morning coffee. The first version of the uppercase letters was done in the time it took to finish drinking it. Worked on it off and on during the day. Was done by evening. The sample probably took longer than the making of the font.
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;
Fauxhaus — Geometric minimalist modernism sans-serif design
As the name already suggests, this indeed was inspired by the Bauhaus-typograpy towards functionality style.
More specifically by Austrian artistic polymath Herbert Bayer's 1925 experimental "Universal" alphabet.
The alphabet he designed became somewhat synonymous with the school's identity, and probably is the most well known Bauhaus typeface, and truly epitomizing that typical simplified "Form follows function" Bauhaus-minimalism style. It was also used for the new Bauhaus-building signage.
Some key features in Bayer's original form are those easily recognizable geometric sans-serif letterings, with letter composition based on strong basic geometry, having eliminated all decorative elements of the letterform composition for that crisp industrial, slight mechanical minimalist aesthetic. Bayer's original Universal alphabet also eliminated the need for a upper case letter, further simplifying it towards more of a functionality-driven standardization. Bayer developed multiple revisions and variations of the alphabet. Sadly Universal was never cast as a font, as during that era they weren't manufactured into printing typefaces, and the designs would only exist as drafts (as was the case with all Bauhaus-typefaces). Nonetheless it served as a lettering model for Bauhaus students, colleagues, and followers alike, and they were regularly re-used for signs, book covers and publications by many of its members, but even beyond institution walls the typographic style began to gain a foothold. Throughout the years we have seen a multitude of revivals and other Bauhaus-inspired typeface designs. Some of which that try to be faithful digitizations of the original, whereas others taking a more artistic approach to the style by providing their own personalized reinterpretation of the Bauhaus-aesthetic. So even to this day, many decades later, it repeatedly continues to inspire and influence designers time and again.
Bayer, First a student and later junior master of the printing workshop, was one of Bauhaus’s most influential attendees, advocating the integration of all arts throughout his career. Though not trained as a typographer, he was also assigned with the task of creating a universal visual & typographic identity for the school.—a task Bayer took very serious.Sparking perhaps the most mythic typeface to ever come out of the Bauhaus, which is "Universal"—one that at that time strove to be as idealistic as the school itself
[THE "FAUXHAUS" FONT]
This is an artistic reinterpretation of Bayer's "Universal" alphabet.
Aiming to preserve the unmistakable style and simplistic geometric stylistic properties of the original, while in the same time allowing a more 'free-form'-approach towards crafting the letterform compositions. This of-course as long as they remains in-line with the stylistic properties of the original. And for the lack of having a better explanation;
—To do sort-of a 'faithfully different' artist depiction of Bayer's original Universal alphabet.
Some notable differences made in Fauxhaus compared to Universal are the re-introduction of a upper case form and the slight de-simplification and inclusion of subtle decorative nuance.
In some cases I've choosen to compose certain specific characters to be more or less identical as to how Bayer originally intended them, whereas others may be entirely different looking. And for some characters have one or more alternative form as well. Some of which are more 'ad hoc'- compositions drawn as we went when new ideas popped up. But others were specifically created to preserve and / -or include certain distinctive and unmistakably identifiable letterforms from Bayer's original Universal alphabet.
Greek & Cyrillic characters included in Fauxhaus were solely added for my personal experimentation purpose only, and they serve 'zero' function as to additional language support of the font.
"Use at your very own risk"— as these could very easily be gone the very next update.
Each letterform was meticulously composed from a random collection of the various memories, which after some thirty Bauhaus-inspired and / -or -revival works including their respective 'shared' research I have accumulated over time for Bauhaus typography like Bayer's work.
No source reference image was used as guidance for creating this FontStruction, everything came straight from the knowledge I gathered from the many previous Bauhaus related projects I did.
So to draw solely from memory alone somewhat a convincing and reasonably similar personal reinterpretation of an original 'Bauhaus' typeface at this stage has gotten pretty easy for me.
For this project in particular I've choosen to construct the letterforms on a medium sized grid, using the linear interpolation 'faux'-Bézier method. So beware that when using this font at very large point size rendering the remnants of this process will become visible!
That's all for now, I hope you like it so far,
CheersThis is a clone
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.This is a clone
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.This is a clone of tm ajicis original