ハイフンで真ん中の線を伸ばせるよ。

イタリックにするとかっこいいかも。

視認性？そんなのないよ。

Just for fun, change the correct bricks for others always is amazing!

work in progress

VOLLE BUISJES — Geometric sans-serif style
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[ 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..

Cheers

PHOTONIA (Pro) - 70s future retro style
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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
 ▶ Diacritics
 ▶ Many glyph alternative forms
 ▶ Additional symbols and punctuation marks
 ▶ Horizontal box drawing (page deviders)
 ▶ Typographical symbols
 ▶ Ornamental printer's characters
 ▶ 1680 stored kerning pairs

Cheers

FRUNTSTOCT — FontStruct logotype reinterpretation
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For all ya failed attempts at re-creating the FontStruct logo typeface.

Many have tried their take on it, most without convincing succes, and often looking downright horrible.
Two of the most commonly made mistakes are..  1) The introduction of a uppercase alphabet  2) Having a tendency for including far too many stuff in terms of extended language and typographic support, aiming for large multi-lingual character-sets with as many glyphs possible.

The lettering for the FS-logotype has this very distinctive modular geometric stencil concept. The underlying glyph structure consists of 5 horizontal rectangular segments, that together with a custom set of simple geometric blocks form a modular system that can be easily re-modeled or re-arranged to form the different letters and required parts that help to distinguish each individual letter from one another.
The modular system itself is highly simplified and easily accessible to implement additional changes. But typically speaking a simplified modular system comes at a price. And the further a system was simplified, the greater the amount of limitations will be. Which literally translates to a reduction in overall design depth and freedom to implement a more diverse complexity.

—TECHNICAL SPECS:
[Dimensions]               Segments
X-Height             —     3
Cap-Height         —     4
Ascender             —     1
Descender           —     1

[Filters]                            Value
Horizontal Brick Size    —    2
Vertical Brick Size         —    1.8
Horizontal Grid Scale    —    0.9
Vertical Grid Scale         —    1

In case of this FS-logotype concept, there are a number of key components that put in place this very strict window of parameter-locked propperties, that exclude all but a few remaining options which could still be exploited, and therefor fully dictate whatever is, or is not possible.
Having only 5 segments, limited geometric components and highly restrictive rearrangeable capabilities towards implementing variation all adding up to the difficulty-level for extrapolating some of its more complex and- / or denser forms, symbols accents and puntuation marks.

To cramp excessive amounts of complexity into a very narrow band of realestate would have a certain negative wear on its aesthetic qualities. And is likely to result in a combination of messy glyph composites and queer-looking letter-inventions, contrapped in a mish-mash of irregular and gawky looking, at times even disfiguring geometry that sit at the heart of this problem.

This is exactly where those bad choices can either make or break your font. The modular system for FS's lettering clearly isn't the most suitable of fonts for uppercase forms and complex geometry.

This doesn't mean that it is impossible, as was demonstrated by a small number of re-interpretations that actually do include fairly decent uppercase inventions. One of such that have successfully pulled off the inclusion of a uppercase set for his rework of the logo typeface was Zhalgas Kassymkulov—previously known as architaraz.

His attempt is a beautiful display of craftmanship and clever simplicity.

Here is a list of attempts that I think are successful re-interpretations of the original FontStruct logo:

Structurosa Italic — by four
AT Archistruct Outline — by kassymkulov
Structurosa— by pauldhunt
FS Logotype — by WeDoFonts
pixelstructia — by gamesgames
fs Colophon — by user-juli
fs sanstruct — by ETHproductions
Realised — by thezenmaster1000
Structurosa Bold — by pauldhunt
FontStrukt 2 Soft — by Jamie Place (FontBlast)
Structurosa Bold Too — by pauldhunt
 

— WHUTZINSIDE THIS FRUNTSTOCTION?
Now, a extensive explanation for the decision to not include uppercase forms to the font, as well as for the constraint on total character amount had been broadly covered above. I think that small caps numeral figures make a much more sleek looking glyph, and tying the overall character set much more together as a whole.

Another, and I say, rather more unique feature found in my version of the lettering is only a subtle one in fact. One that mostly works invisibly, that without the awareness of the reader, is easily missed. And can only truly visually materialize and appreciated seen up close. This is the implementation of several slight deviations and custom sculpting of certain curvatures and round features. Introducing an ever so slightly more diverse dynamic, but also taps deeper into some of that shape contrast propperties.

In addition to that I've also included several glyph alternative forms and small number of ligatures to play around with.
among these glyph alternates there is also this continuous string of 13 rather experimental looking glyph variations for the lowercase letter 's'.
These aren't actually meant to be usable characters, but instead is a collage of different configurations that make various curved geometry, and are simply stored in a glyph-style fashion that provides an actual physical estimation on their appearence and for me to test their functional values in a text format.

So far so good,
I am happy with how the font turned out to be, it is fairly consistent looking and still remains quite usable as a font.

That's all for now folks...

Cheers.

Various alternates in the capitals.

@ : ligatable S.

# : ligatable T.

$ : baseline-aligned f.

` : zero-width apostrophe.

Unicase font with a lot of alternates in the lowercase to improve the general playfullness. Also added more diacritics and accents, and remodeled and kerned the old glyphs. (Plus: other "1" at the "t", the 3rd "U" -and their accents- are at the "v", "ò", "ó", "ô" and "ö", respectively.)

ETC SOLID42
ETC SOLID42 is a futuristic display font based on The Studio Temporary & RetroSupply Co.'s SOLID70 (https://www.retrosupply.co/products/solid70-font). 

JS-PTT 1975 (INLINE) ― Geometric modular typeface system
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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.

Cheers

VAN NELLE (Blueprint) — Geometric modernist sans
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☛ 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) PDF Typeface Specimen

PLEASE STOP REQUESTING EDITOR RIGHTS FOR THE PDF.

​​Thats all Folks ☚

☛ Cheers

FAKOS VARYTITAS - Futuristic Sci-Fi stencil design
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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
 •diactritics
 • symbols & punctuation marks
 • ligatures
 • 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.

Cheers

ARS NOUVEAUX - Art Nouveau inspired display typeface
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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,

Cheers

a chubby, chibi art deco font.

completely unrelated, but if anyone has a time machine back to the heavycomp, it'd be greatly valued~

A wide stripe font with a couple art deco elements. Please enjoy~

Fauxhaus — Geometric minimalist modernism sans-serif design
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[INSPIRATION]
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
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[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 lacki 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,

Cheers

Even smaller caps in E000 - E019.

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...

zerotime pixelized. Uppercase added.

Just a small project based on old punchcard encoding.

Use { and } to start and end the message.

When I first saw jonrgrover's Wiggly Wumpus, I told the author my first impressions about the font. After a few days, I finally decided to do it myself, and that's how these glyphs you see were born (thanks for the creative impulse, Jon). Achieving a smooth, sinuous curve has been a bit more laborious than expected, and there are some letters of complicated construction and I'm not 100% happy with the current look of some of those. But here they are, dancing infront of your eyes as if reflected in a fairground mirror. Btw, "Specula risus" (latin) means "Mirror of laughter", that kind of mirrors that visual and comically deforms our bodies... Hope you like them.

A blocky sans serif. Not sure about the overshoots, they seemed a bit excessive in capitals (due to the larger flat edges) so I only kept them in the lowercase.

Some alternates in lower case

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.