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)
Support for 34 languages:
Afrikaans, Albanian, Belarusian, Bosnian, Bulgarian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Greek, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Macedonian, Maltese, Norwegian, Polish, Portugese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Turkish, Zulu.
A bold, rounded, mono spaced typeface; useful at various scales, I think. Designed primarily for use in English, also useful in French and Spanish. It's functionality in Greek is limitted, only really useful in a display context, or where only Demotic usage is required; not useful in Katharevousa, Koine, Classical, etc. Open Font Liscence, hope it is enjoyable and of use.This is a clone
This was a fun one to experiment with. A lot of fonts I've done here have been done with strict design rules. It's fun to break them once in a while.
STF_DIDUDE -A condensed neoclassical "Didone" serif style.
The idea revolved around the basic concept for didone style typefaces.
A genre characterized by a modern unornamented standard letterform that was very popular for general-purpose printing during the nineteenth century.
Main design parameters for DIDUDE are:
Typical narrow unbracketed serifs, vertical orientation of weight axes with strong contrast between thick and thin lines. So the majority of important features that really distinguish this genre I have tried to implement.
I didn't embarge on a quest to delivering a conceptual overhaul of this genre. Instead, the idea was to simply keep it faithful to existing tradtion. But, I did make 'some' personal design decisions that (i think) set this font apart from most more traditional fonts in this genre. Most obvious are its condensed style and the more relaxed contrast ratio I've choosen for this particular design.
I've also tried to include some extra personal touch to the stroke endings, which feature slight typographic decorative variations, such as occasional spurs, breaks, curved finials as well as plain terminals, there is even some ever so gentle height deviation and overshoot going on.
In addition to this there is a large character set that includes a little bit of everything:
Basic latin character set, latin-1 supplement set, stylistic ligatures and alternatives, punctuation marks, lining and non-lining figures, roman numerals, greek uppercase, mathematical, symbols and decorative shapes.
Only partial kerning is applied for now and it remains a WIP, more characters follow.
I hope y'all like it so far..
A font made for a LuneKnight, a Terraria mod by yours truly. It gets its name because parts of it remind me of halberd, partisan, and/or axe heads. I designed this to have the vaguely authoritation look of a Didone as well as a borderline-gaudy look that prevents this from being taken too seriously. These changes lent some much-needed character to the prototypical Didone from which this design evolved. The uppercase letters are more heavily ornamented, as if to suggest that they are letters from an illuminated manuscript.
The main texture is a diamond pattern inspired by vent holes in medieval armor. These were often made with a square punch, and help the font look more handmade. Actually, most of the quirks this font possesses are present to help present a handmade look.
The wider letters are incised, which seems to lessen their perceived wideness by breaking up the shapes. For me this effect lent a more natural flow to the reading.
The ornamentation rules are complicated and factor in lettershapes, English letter frequency, and the existing design parameters. One thing I can concisely explain is that glyphs which normally look fairly plain are ornamented to such an extent that they make others look plain instead (CGJLT1 among others).
Font with a "light rays"/stained-glass effect.
This is an unofficial forum I have made for FontStruct tutorials and educational materials. Want to know how to do something, or how to make a certain style or effect? This is the place to ask. I am not part of staff, and am far from being the most advanced user on here, but will pass on whatever I can.
I have been writing an FS video series for some time, but it has proven very time-consuming to make the series as comprehensive (and as high-quality) as I would like. It has also occurred to me that I can teach a lot through simple text and graphics. This is my attempt to create a knowledge hub for FS where all the good stuff is in one place. If you make a tutorial or expand on mine in some way, you're welcome to post those here as well.
Please keep the discussion topical. This page is about tutorials, requests and discussions for them, etc. Idea Soup is more of a free-for-all and anything FS-related is accepted there. Idea Soup is also a good place to discuss tutorial ideas, since we can work out exactly what needs to be taught there without clogging the comment section here. (There is a limit on the number of comments this page can have, right?)
This page is open to users of all languages, but we may have to use Google Translate to answer you. Sorry in advance for any bad translations :D
Related Forum:FontStruct Idea Soup
The font used for these forums is Tangereen 2.
Font made for the logo of a particular project/video game of mine.
Some kerning pairs are imperfect... I can only bring them 10 bricks closer together, so a bit of space remains...
Current Version: 1.9
Pixel prototype of a font for an upcoming game being developed by yours truly. This will likely be used, but only for flashbacks and dreams. The normal ingame font may be a high-res version of this, or something different - tests are still being done to determine this.
English only for now, as there are no plans to localize the game myself.
"Madufaros" = "daughter of Madu".
Original size: 9pt (use multiples of this size for pixel perfect rendering)
An experimental design using 1/8 weight lines alongside 1/16 ones. The 1/8 lines are the smallest that can be accurately nudged. Centering them is still a problem at times, and I need a few impossible composites to perfect the glyphs ABEFHKQRXYijkx34789, but overall I'm quite fond of how this doodle turned out.
I think I could use some intensive compositing to get rid of the central dividing line in glyphs like A and H. I'll give it a try when I can.
A dark look and a few crows' beaks for dreary November... it belongs to my "1st of" series for 2016.This is a clone
I really liked my last slab serif font, and so I decided to make another one. This time, we've put the file on it and rounded the corners.
Each letter has a width inverse to its frequency in English.
my inspiration for this was the font on a packaging of bricelets ...
if there's interest, i will add more letters ...
This font and tm Byte started off as one. Both were different from what they have now become. The idea was to create a very heavy, minimal curves and angles to give a sense of the glyph.
It started with a plain N and a solid O. Making the E match either the N or the O resulted in deviation from the style just enough that it warranted a spin-off into a font of it's own.
Some letters—such as G and H—proved quite difficult to match in the style of either. A slight angle shift resulted in a glyph that did not go with other glyphs. I kept trying different possibilities...and at some point decided to save the discarded option into another fs, which now contains more than 200 characters.
The teardrop counter in tm Byte forced a complete redraw of all glyphs at about 2× the size.
I am already working on two additional fonts that came out of this exercise...and it might yield more.
I made a font inspired by art-deco, which I really love. To more universal capital letters, more decorative lowercase have been made, which can be varied by additional alternative characters (o e i).