A font designed to look like neon light letters.

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!

A version of "Western Traintop" with more characters. (Work In Progress.)

fi=Regular $ symbol

ETC Cingularis Sans V1.1 - A Retro-Futuristic Geometric Typeface

- Supports most European Languages

- Contains some stylistic alternates and ligatures, likely more to be added

MOVIEMAX  — Groovy bold & roundish 70s display sans
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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

Cheers

GROOVERIDER — 70's future retro display sans
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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...

Cheers

The font on the Irish Series B Banknotes.

Its purpose built negative font with small overhangs to mask eventual gaps between blocks. Blocks are almost unified (separators and letters I,M,W and some greek and cyrillic are exceptions).

MARTIAN AMBASSADOR — Future retro / Sci-Fi style
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A future retrostyle that reflects the social construct at the dawn of the Computer Age through the zeitgeist of that 70s and 80s aesthetic fashion, which was strongly influenced by things such as: space, computers, sci-fi and cyberpunk.

Part of the Stu font family, Stu Mid keeps all lowercases tucked within the x-height space. The character glyphs can be used interchangeably between the various Stu styles to achieve a more "bouncy" typesetting effect.

Stu pays homage to oldstyle numerals, where type designers vary the heights of numbers to resemble a line of running lowercase text. It seeks to address the question: "What if every lowercase alphabet also had varying heights?" The result is a font family with full-fledged ascenders ('Hi'), strictly x-heights ('Mid'), and only descenders ('Lo').

You can view the documentation of the Stu font family design here.

Height 3 / Width 2 / Filters Ø 

a bit late but since this is an extended version of my entry for numbercomp i added the tag :)

EDIT: OMG THANK YOU FOR THE STAFF PICK :D

This had the numberscomp tag on it at some stage, so still shows the numerals first in the gallery pages. I wasn't happy to share it until now however. I used a combination of connected and custom made bricks. Alternate a and e in lower case.

I can't superate chocomotion by four (❤️!), but I'm trying my own soft approach to the 3lines font design world. Hope you like this attempt to clarify from my to-do list. Btw: feedback about the design or aesthetics of some Cyrillic characters would be appreciated. Thanks in advance, people.

Free for personal use only

Initially inspired by SB Standard font (2013, Craig Staiton) with many modifications and recreated glyphs... And made to saving half the ink when you print your text with it, which is very important in today's times, you know :))

STF_WALDBAUER — Condensed modernist Bauhaus sans
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This is rather a heavily condensed sans that sits halfway between a Bauhaus and Art-Deco style lettering.

The low waist, tall x-height, long ascenders and deep descenders give this font a somewhat elegant appeal. The uppercase set is clearly Art-Deco inspired, whereas the lowercase set leans more towards a playful Bauhaus mondernist style. Several characters have filled enclosed parts or other exaggerated features as well as non-filled alternate forms.

The idea for this font was inspired and extracted from a 1930s poster ad by Pál Vince for luxury luggage company Waldbauer.

The FontStruction's x-height is 3,5×1 grid units, so its tiny!

I hope you like it,

Cheers

a venture into neon art deco, inspired by tortoiseshell's "night lyfe" (hence the name~)

DOBINI BALWAUM (Inline) — Didone-style 18th century modern serif
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Dobini Balwaum is a Didone, or modern, serif typefaces inspired by the works of Bodoni, Didot and Walbaum.

This font had been in the making for quite a long time as I ren into several design difficulties along the way. Most challenging parameter was the inline width. By default the width for the inline was set at 0.125 (or 1/8th) grid units.

Maintaining a constant width for the inline proved to be next to impossible. Therefor it evolves around a 'close' approximation of 0.125 units instead. Stroke weight for the letterform contours also proved to be somewhat of a constraining factor for the overall design concept. As it limits the ability to build complex geometry.

Due to the complexity in brick arrangements the font remains having some minor imperfections that I wasn't able to polish out so far yet, and some may never will..

For now only Basic Latin letters, it remains a WIP

I hope you like it so far,

Cheers

Soft and rounded NUMBERS like long fairground balloons... and shadowed. The first was the 8 and then all the others arrived.

LORD KRUMBLE —A transitional sans that mixed Art-Deco with neo-classical humanist minuscules

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Inspired to celebrate the homecoming of him who strikes fear in all badly baked treats, the one which nightmares are made of, that kind of person that makes every cookie crumble and wanna skip school for a day or two. Of course I'm talking about the one and only "Cookielord".
— "What could'nt be better suiting than to have a freshly crafted and new font that is celebrating his return."

Him recently dropping a new FontStruction somewhat came as a pretty unexpected but nice surprise. It just so happened to be that I was already looking for new ideas that could lead to the next project. In fact, until recently I was actually still struggling with this, and hadn't really been able to provide a catchy and motivating design theme to bring to the table that would once again help me on my way with starting a new FontStruct project. So I took this occasion to see if I was able to find a little inspiration in his Verminfont. Not particularly aimed at doing a derivative work, nor anything closely resembling his cool font. Instead rather trying to draw some inspiration from that peculiar and playful but friendly characteristic, that to me personally distinguishes his Vermin font the most anyway.

╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍

And so I appoligize for the fact that this doens't truly relates or do justice stylistically in any way to the aesthetic present in Cookielord's original Vermin font. That being said, this is what became the end product of that.

But, it does have one striking resemblance that pays a homage to him, and that is the included cookie. Sorry I took a bite out of it my friend, hope you can still appreciate it.

— Just to let you know that regardless wether you decide to stay or not, your recent return isn't going to be for nothing!!

╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍

No 'Brick Size' filters were used, which of course presented me with a lot of challenges that limited the amount of complexity I was able to put in, something that wouldn't been the case with (2:2) 'Brick Size' filter settings. The other noteworthy aspect to this particular fontstruct is its grid size, which is tiny. Never before have I made a Fontstruction that required kerning values to fluctuate only as little as 0,01. This also made it impossible to implement optical corrections on the vertical axis in the form of overshoots, but luckily this didn't became a very clear issue in the end.

I'm not sure if I can complete the additional Latin accents for all characters due to the limited grid space available surrounding some of glyphs. I might try doing those later.

Let me know what u think of it so far fella's, stay tuned!

Cheers

Dredging another font from the long-lost depths. "Zastava" was my first font to be given a Top Pick, a not-so-subtle take on the Art Deco classic "Bifur." The naming convention for fonts at that time was translating random words into other languages and finding the "coolest" sounding one. "Zastava" being a Serbo-Croation/Slovene word for "flag/banner." This reinvention borrows from the old trend using another vexillology term, referring to the swallow tail design of the "K" and "M" among others. Please enjoy~

Work-in-Progress …

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.

Thanks, fontstruct.

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

Various alternates in the capitals.

@ : ligatable S.

# : ligatable T.

$ : baseline-aligned f.

` : zero-width apostrophe.

ZEPHTON (Pro) — 70's future retro / sci-fi style typeface
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[ INTRODUCTION ]
A revival of the Sci-Fi lettering used by the “Atlantic Toy Company” for their “Galaxy Serie”. A science fiction themed toy line that was manifactured from 1978 to the early 1980s.

The lettering seen on their packeging uses a modified and filled version of a typeface called Paperclip Contour, which was designed by Dutch graphic designer Ad Werner, and was issued by Mecanorma in 1973. There is very little information provided on the web in regard to the original typeface by Werner. And even fewer images. Nothing that show a complete character set, only FontInUse submissions. But taken from the research I conducted I can safely conclude that the original Paperclip Contour typeface has just one style, which is outlined, and that it includes a lower case(a-z)  letterset with numerals and just a had full of symbols and punctuation.

That being said, this actually is the second revision I did for the lettering. The innitial first version had a super basic character set, as well as a couple of mistakes included alongside some compromises in respect to certain glyphs. This was due to the limited knowledge I had in regard to the use of the FS-editor at that time. So the font wasn't 100% accurate. This newer version correct most of the inconsistencies that were present in the older version.

Due to the incomplete resource material on the original Paperclip Contour by Werner I can't check accuracy of this newer version. But I think that apart from the thicker weight in Zephton its 99% accurate.

Where the older version ran short by a lot, this new revision in fact can qualify as a full font, with everything from numerals, symbols, puntuation marks as well as accented letters for more Latin languages. And ever some glyph alternatives. Making this much more of a functional font.

[ THE FONTSTRUCTION ]
The font is a “Unicase” style typeface that has only “Minuscules” included. There are glyph alternate forms for several letters as well as a secondary set of numeral figures. These characters are located in the Unicode blocks for “Halfwidth And Fullwidth Forms” and “Private Use Area 1”

There is also a full  (a-z, 0-9)  alphanumeric set with “Contour Outlined” glyph alternative forms, which is located in the “Private Use Area 2”

The font saw a major update that tied everything together, and sort of finalizes the font for proper use.

Several characters have received minor adjustments in order to find a balanced harmonic distribution of typeset material. Also several improvements have been made to the overall shape and form of various characters. In addition to that numerous new characters been designed, expanding the character set even further.
Work also continued in the metric department, building the kerning table, that contains 2368 stored kerning pairs so far. Spacing was reduced by 50% to tighten the letter fit significantly. To round things up and convert it into a more functional typeface some of the characters were rearranged and/or relocated to different Unicode blocks.
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[ CONTOUR OUTLINED GLYPH ALTERNATIVE FORMS ]
The contour outline glyph alternative forms are not 100% accurate conversions of their solid counterparts. This due to minor design difficulties that simply made it impossible to fully execute it at its current size and with this thin stroke weight. The deformities are simply the result of a lack in fully smoothened stroke contours in some of the transitions from diagonal to curved parts. These flaws are minute, and mostly only noticable at large size rendering, but nonetheless present. In small to medium size text these imperfections are  hardly visible, and pose no real problem. Anyway.. the contour outlined glyphs are still very close approximations nonetheless, just so that it happens to be with a small number of tiny imperfections.

As a direct result of this the two sets with glyphs do not fully match and therefor not seemlessly overlap.  

This can be ignored for most part in the majority of the font's application, but it does create two important limitations:

1) Contour outlined glyphs are unsuitable for vector path outline rendering when the stroke alignment is set to "Outside" (Configured like that with threshold for the corner point angle set to sharp these imperfections in the glyph contours can generate spikey disruptions to appear in the stroke rendering).
— So this configuration should be avoided.

2) The two styles are unsuitable (or incompatible) with stacked “multi-layer" overlay text compositions.
— Simply due to the fact the two variations aren't a 100% true match.

They do on the other hand, combine perfectly side-by-side in text composition.
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[ MORE LIKE THIS ]

There is also this other FontStruction that was inspired by Ad Werner's font Paperclip Contour, called Neue Werner Paperclip, this one was crafted by fellow memberfunk_king

Thats it for now...

Cheers

a sneaky little deco font with numbers hidden throughout~

(almost forgot to publish)

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