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.

What category is this font?

my entry in heavycomp

G1 ThunderGawd. Opening day for Marvel's Thor Love and Thunder movie AND final day for the FS HeavyComp! Time to kill two birds with one stone, or maybe feed two birds with one scone.
HeavyComp entry #3. This font features...
• Microserifs
• 7 Color layers
• Chamfered Bevels
• Interconnected Celtic knot patterns with shaded underlayments
• Full weaving pattern on uppercase/numbers, vertical patterns on lowercase
• Thor's hammer Mjolinr on the +, broken hammer on the -

Can't wait to watch another film of Thor in the Taikaverse. Feels like I'm going to watch it about 50x, just like Thor Ragnarok. 

Thanks to this competition, this font brought the challenge out of me. Believe it or not, this is the simplified version of what I wanted to make. Really nice set of submissions in quality and quantity from everyone for the Heavycomp.

 

LITERA FACILIOR GOTI ― A 'Blackletter' script style with a twist
════════════════════════════════════

Also known as Gothic script, Gothic Minuscule, or Textura, was a script used throughout Western Europe from approx. the 12th untill the 17th century.

This FontStruction was aimed at mimicing the aesthetic approach of a ― ‘Textura’ variant of the Gothic Minuscule script style, more accuratly refered to as ‘Littera Textualis’. This style is most characterized by its strong sturdy letterforms, with distinguishing sharp, straight and angular features as oposed to the other variations in this catagory.

In terms of authenticity to the original predecessing formal script family, my ‘Litera Facilior Goti’ didn't took a whole lot of care for authenticity. The idea was to take a more independent and experimental approach to shaping the letters and forms, so it wasn't necessarily inspired by any specific typeface in particular, it rather recycles certain characteristics of a ‘Textualis Quadrata’, but beyond those aspects of general guidelines it evolved on its own.

Some of the areas where the design tends to really stray away from the tradition is for example the serifs:

It's often that I have some trouble with the weight ratio distribution of serifs and such elements in simplified modular based geometric Blackletter fonts. In many of such designs they tend to have been left pretty static and equal in thickness throughout the full character set. Which I think is often either having some letters look clumsy or even weird, and generally speaking also often making them appear too thick.

So this was one of the things I had to try and adress, I experimented a little with the style and forms of the serifs. Eventually this resulted in multiple deviations in variety to mix and create a more dynamic distribution. similar to what was done in less formal scripts. Over time they became ever further simplified, letterforms that involved less reorientation of the pen, in pursuit of styles that were quicker to write.

But taken as a whole typeface I find that it is having this certain ‘random-ish’ characteristic that is simply working for the better of these particular style fonts.

I'm still working on improving its overall rhymes and reasons to a certain point that is acceptable, balanced and with enough consistency. But up to this stage I personally think that the concept worked out quite successfully so far. And that even despite the fact that its stripped down of most ornamental decorative calligraphic extravaganza, it still managed to capture a convincing portion of that ‘Medieval ’ looks and personal flavour.

But I think that in the end this became a pretty neat looking font and it would classify somewhere between a hybrid mix of simplified Blacklettering and a drunken man's ‘Textualis’.

════════════════════════════════════

―  No filters used!

Cheers!

STF_ELEGANZA (Therapy) - Contemporary geometric humanist sans
==============================================
A font style, that while simplified by old tradition, saw new light by modern sophistication.

It comes in a solid medium weight that is very suitable for body style text with good readability, But it does perfect clear headlines or advertisement as well.

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

The goal was to make a clean but somewhat more contemporary and playful take on a 'Grotesque' sans-style.

In an attempt to break away from the traditional trend of Grotesque type designs which evolved more around pure geometric shapes and aim for perfect circular, triangular or square shaped letterforms, and in return give many of them a somewhat harsch and featureless mechanical appearance. I choose to achieve the opposite, aiming for a softer, friendlier and more humanized feeling instead.

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

Dimensions: (in grid units)
X-Height:              1 .625
Cap-Height:          1 .875
Type Size:              2 .375
Em:                        3 .5

Brick Size filter:     2 : 2

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

This is the 'Therapy'-style in the 'ELEGANZA' typeface family. This version basically aims for the exact opposite effect than what the Tight' version did. The name 'Therapy' relates to its 'opened-up' appearence and the overall de-stressed propperties of this version. The more relaxed and spacious distribution remotely resembles the characteristic feel of a typewriter face. But the main purpose for this version is to create visual hierarchy in your layout.

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

The other style vatiation can be found here ELEGANZA (Tight)

I hope you like it...

Optical experiment...

FORMALISMS - Modernist inline display type

Rigid square-based inlined modernist display style with incised (fake-) 3D effect, mimicing a quirky and non-logical take on twisted geometric form and sometimes folded appearance.

Some characters, but mainly symbols still need slight improvements, some are still missing as well.

The bi-linear stroke was incised at certain specific positions and had one or more (cross-)intersecting line segment included that connect the two colinear strokes. This is creating 2 additional extra geometric hyper-planes, and allows the option of including the illusion of looking at three-dimensional geometric objects.

But the way this is implemented into the design in fact obeys no relationship to any actual fundamental propeties and isn't necessarily a correct three-dimensional form, nor fully or faithfuly folded.

The glyphs also have somewhat of a monogram logo style quality

Hope you like it

Cheers

BOUWHUIS - 'Bauhaus'-modernism inspired minimalist geometric sans
════════════════════════════════
I am in a Bauhaus-vibe last couple of day..
So here is yet another venture into the
modernist minimalism aesthetics of the previous century.
════════════════════════════════

This Font losely draws on the basic concept for the 'Universal Type' that was originally designed by Bauhaus student Herbert Bayer.
It's basically a hugely inspired tribute to Herbert Bayer's several forms of   ―'Universal'.
But I want to be clear on the fact that this isn't a revival of the original alphabet or anything along those lines for that matter.

Instead it is a intermingling personal interpretation of his multiple works and ideas. Attempting to merge this recollection of Bayer's rational 'functionalist'-approach towards combining aesthetics and function, as by which he is answering to the 'Bauhaus'-philosophy and the 'Form follows function'― design principle.

But besides being a 'inspired' recollection, still the main focus for this FontStruction was to come up with this personalized and stylistic derivative version that pays homage to various of his original work. Unifying the various characteristic Bayer idea's-n-bits within my personal visual representation of the general concept into a new piece.

For it's primary style-concept I envisioned BOUWHUIS being something fresh and somewhat different from the gross majority of similar inspired works out there. This led to the decision for going with a more contemporary and modernized (― as oposed to modernist) style lettering.

In addition to that I pursued a much more vibrant and nuanced typographers sensitivity towards letterform calligraphy and decorative features.

Strong geometric core elements of the font make up for a expressive simplistic structural basic form and it has 'zero' stroke modulation for thickness.

It's regular weight combined with that predominant circular and square-based geometry of the letterforms result in this 'open', and overall ventilated characteristic of the design.
The typical crude appearance that usually comes with a strong geometric sans like this was compensated for in BOUWHUIS by the design's subtle deviations in form and the various decorative calligraphic letter-components.

Something that completely denied Bayer's principle in approach to modern typography and to create an "idealist typeface" was; The reintroduction of it's uppercase letters.

Part of Bayer's rationale was to simplify typesetting, strip all that he felt was unnecessary or the typeface had no need for in order to function, till there was not much more left than just the nearly bare-naked form.

It seems that unintentionally some innuendo of Art-Deco―flavoured hints also found their way into parts of this design.... ―Hmmmz

― but I think I like them, so no worries on behalf of that

════════════════════════════════

As a little bonus topping it all off there is also a super tiny experimental lowercase caracter-set  (X-Height=1 grid unit)  

Located in the Unicode block for "Halfwidth and fullwidth forms"

I hope y'all like it so far, more will follow soon.

Cheers

A little experiment with the "connect" bricks (and an healty dose of stacking). I wasn't referencing any specific example of the style (of which there are many), but I'm sure that, looking for solutions as I went, I ended up with something similar to already existing typefaces (and fontstructions).

Unfortunately, some connecting bricks don't align exactly, so I had to resort to approximate them, when possible, with more stacking, which didn't particularly help the already lacking consistency in construction.

But enough moaning, enjoy!

Solid squared unicase with a lot of alternates (placed in the lowercase zone), almost two fonts in one. "c" in the "¢" glyph. Enjoy.

a more elegant, borderline art nouveau/neon art deco

Unicase font with alternates. Special characters: Blank space at the "\", "LT" pair (kerned) at the "fi" ligature and the "TJ" pair is at the "fl" too. Better to see the font at big size. Enjoy and Happy New Year 2023!

Sort of mixing ideas from "tuxedo blvd" and "tinseltown." Keeping with the "t" naming trend between them, here is yet another Art Deco font, "trailblazer," please enjoy~

My take on a thin sans.

It should cover all Western European languages (plus Hawaiian and Hepburn romanisation).

First pass at light kerning done, will be refined with use.

Inspired by the Logo of The band Scorpions first created back in 1975.

All other letters were built based on the letters in the original logo by me.

I found the original font of the logo, called "Lady Starlight" (you can check it out here:https://www.dafont.com/lady-starlight.font?text=SCORPIONS) quite boring and thus made this like a recreation. Hope you find it much more interesting.

HeavyComp entry number 1

Enjoy!

Open to comments and suggestions

SANS SERIFSCO — Humanist / Neo-Grotesque Sans-Serif

A contemporary neo-grotesque sans-serif design with regular weight.

I tried to add subtle diverse and nuanced visual elegance while still remaining minimalistic. Most significant feature is the subtle stroke modulations, distinguishing this from a more geometric style.

Designed to be versatile and suitable for a wide range of different purposes and optimized for legibility in small point size body copy.

The font was constructed on a large grid using linear interpolation (also known as faux-Bézier method). This allowed the most freedom for constructing more complex custom forms, curvatures and all the various stroke modulations.
The font has a total vertical height of 88 square grid units, this is including all optical compensations, ascends / descends and accents.

Hope someone finds this useful

actually blackletter (somehow)

inspired by the work of @elmoyenique and @sed4tives

btw "kaldus" is slanted in estonian

 A jazzy, unicase, unique typeface!

i am posting this late at night, becuase i know due to time zones, it's morning right now. So, here i am at 1:14am, trying to post this late at night, so people wide awake somewhere else see this! 

An old project, finished now. 70s vibes. Hope you like it.

Umbriel is a moon of Uranus. It is named after a character in Alexander Pope's poem "Rape of the Lock."

Thin sister of zenando, more legible for body text (even at pixel size), but with numerous differences on a lot of glyphs (it's a new font, basically). You can find an additional "$" in the "§" glyph. There are also new ligatures "ff" and "tt" which are in the places of "fi" and "fl". Enjoy it, please.

A cursive-esque, sort of hand-drawn font. Really had some fun stepping out of the usual font styles and explore with these cute little loops and swirls. Please enjoy~