Musician/Type designer/Mashup artist
• BANDCAMP / My music
• MY "JURRIAAN SCHROFER" SERIES
Tools for font testing
Personal URL | https://www.behance.net/Sed4tives |
Fontstructing since | 1st December, 2017 |
Fontstructions | 365 shared, 79 staff picks |
Shared Glyphs | 59252 |
Downloads | 14007 downloads made of this designer’s work |
Comments Made | 2789 |
F.F.M. (Round) — Constructivism style lettering
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Revision of a typeface for one of my all-time favorite record labels, the German (Frankfurt)"Planet Core Productions". The typeface was seen on many of their vinyls and cds as well as various other stuff. It originated back in 1992 and was custom made by Paul Nicholson for Planet Core Productions.
The original came as a minuscules (lowercase) only, plus it had fewer symbols & punctuation marks. So I took the liberty of filling in the blanks, and expand the character set.
Besides the inclusion of a uppercase set I also added some extra symbols and punctuations as well as a hand full of alternative forms that I gathered from various media such as CD, vinyl and posters.
This is the Rounded style variation for F.F.M. and this version features rounded/soft corners.
The main purpose for the digital recreation of the label's typefaces is to supplement in the creation of Planet Core Productions related literary scribings. The typefaces are the property of Planet Core Productions and were originally designed by P. Nicholson.
Cheers
This is a cloneJS-SANS GRAFISCH (Regular) ― Geometric Sans-Serif
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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 a revival based on a sans-serif lettering concept Schrofer did in 1968. The lettering was used in several of his later smaller projects, mainly for some design work regarding the Schrofer family. One of such was the wedding card he designed for Olga Schrofer & Djien Injo. Schrofer had never designed a complete alphabet for this specific lettering, and all the gathered resource material I was able to collect ( 1, 2, 3, 4 ) still yielded a combined total of 19 different lowercase letters "acdefghijlnoprstuwy"
Anyway, by the looks of it we can asume that this derived from or eventually had led to another one of his alphabet systems that came around that same time. This was one of his alphabet systems that he developed into a complete typeface. First appearance back in 1968 on Olga & Djien's wedding card. Later a slight modified variation of that same sans-serif system was used for the Dutch 1969 postage stamp design that celebrated the 50th anniversary of the 1919 International Workers' Organization. Several more instances would later follow, But the best and most complete preview of this sans-serif concept is probably seen on the red / white alphabet sample composition he did. Here a semi-bold version was completed to a full lowercase (a-z) alphabet set and small caps figures (no symbols or punctuation marks)
This particular alphabet system eventually saw extensive use, and can be seen in many of his work, ranging from book designs and brochures all the way to postage-stamps. So there is no shortage of resource material on this alphabet system.
Over the course of its existence the alphabet was constantly evolving, and Schrofer kept expanding the system with additional new weights and slight variations. But during his time with Mouton & Co. the concept basics for this sans system became one of his lettering workhorses, and saw widespread application.
Schrofer made several attempts to create complete typefaces, but this was never his goal. "Is it necessary.."he wrote,"To make complete alphabets with upper- and lowercase, figures, diacritics and seriously adorned with a name, when aim is merely a formal investigation into basic recipes?"
Schrofer's domain was never the design of typographic alphabets to be used by other designers. In addition, the lack of any naming for its alphabet systems and lettering-concepts can sometimes make it difficult to tell things apart, or instead group them into several larger font families, consisting of multiple weights and -or slightly modified style variations.
This specific proportion that I used for the revival of the alphabet system only appeared in three small occasions of Schrofer's autonomous works.
It basically is the same simple, clean, but solid looking geometric sans-serif system he often reused. It is also the same general concept for the alphabet system STF_SANS ROUNDED was based upon, but with some minor changes.
This variation comes in a smaller weight and less condensed form, more open-spaced letters that almost feel expanded. The medium contrast on its vertical axis remains. In addition the overall character set was greatly extended as well as several other minute changes that were incorporated.
Interrested in more of my Jurriaan Schrofer inspired? Please take a look a my complete collection of Fontstructions tagged with STF-LETTERS OP MAAT for the full catalog of fonts I contributed to this project so far.
Cheers
This is a cloneJS-SANS MARX (CONDENSED MEDIUM) — Geometric Sans-Serif
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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 a revival based on a sans-serif lettering concept Schrofer did in 1968 during his time with Mouton & Co. The lettering concept was seen on his book cover design for the book "Marx and contemporary scientific thoughts; Marx et la pensée scientifique contemporaine". The book cover only shows 4 lowercase letters, spelling the word "marx". But these pretty much have all the important features to extrapolate the remainder of the alphabet from. At the same time having just 4 letters allows for a much more loosely approach towards inventing the other letter solutions.
I decided to create a typeface family of multiple styles each with different weight properties (Light, Medium & Bold in both Compressed and Condensed form). The medium weight is what was actually seen on the original book cover.
I hope you like it,
Interrested in more of my Jurriaan Schrofer inspired? Please take a look a my complete collection of Fontstructions tagged with STF-LETTERS OP MAAT for the full catalog of fonts I contributed to this project so far.
Cheers
This is a clone of STF_JS-SANS MARX (CONDENSED BOLD)JS-SANS MARX (CONDENSED LIGHT) — Geometric Sans-Serif
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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 a revival based on a sans-serif lettering concept Schrofer did in 1968 during his time with Mouton & Co. The lettering concept was seen on his book cover design for the book "Marx and contemporary scientific thoughts; Marx et la pensée scientifique contemporaine". The book cover only shows 4 lowercase letters, spelling the word "marx". But these pretty much have all the important features to extrapolate the remainder of the alphabet from. At the same time having just 4 letters allows for a much more loosely approach towards inventing the other letter solutions.
I decided to create a typeface family of multiple styles each with different weight properties (Light, Medium & Bold in both Compressed and Condensed form). The medium weight is what was actually seen on the original book cover.
I hope you like it,
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
This is a clone of STF_JS-SANS MARX (CONDENSED BOLD)JS-SANS MARX (COMPRESSED BOLD) — Geometric Sans-Serif
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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 a revival based on a sans-serif lettering concept Schrofer did in 1968 during his time with Mouton & Co. The lettering concept was seen on his book cover design for the book "Marx and contemporary scientific thoughts; Marx et la pensée scientifique contemporaine". The book cover only shows 4 lowercase letters, spelling the word "marx". But these pretty much have all the important features to extrapolate the remainder of the alphabet from. At the same time having just 4 letters allows for a much more loosely approach towards inventing the other letter solutions.
I decided to create a typeface family of multiple styles each with different weight properties (Light, Medium & Bold in both Compressed and Condensed form). The medium weight is what was actually seen on the original book cover.
I hope you like it,
Interrested in more of my Jurriaan Schrofer inspired? Please take a look a my complete collection of Fontstructions tagged with STF-LETTERS OP MAAT for the full catalog of fonts I contributed to this project so far.
Cheers
This is a clone of STF_JS-SANS MARX (CONDENSED BOLD)Style variation in the "STF_CONNECTED SQUARES v2" typeface family.
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A remastered version of "CONNECTED SQUARES". A previous recap I did from the work of late great dutch graphic designer "Jurriaan Schrofer".
This time I made a much more accurate version. I also added uppercase letters and some extra punctuations.
Enjoy!
AVANT-GARDE i10 (Regular) - Modular stencil type system
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Another revival of the works originally designed by great dutch graphic designer Jurriaan Schrofer
The original source for this fontStruction was the cover of 1963 paperback: "i10 de internationale avant-garde tussen de twee wereldoorlogen"
by Lehning, Arthur & Jurriaan Schrofer
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This is a optimized re-entry of my very first fontstruct entry. Which was in loving memory of "Jurriaan Schrofer". it was a attempt to re-create a alphabet from late great dutch graphic designer "Jurriaan Schrofer".
Unfortunatly the first entry that I published had some imperfections, and which for the most part were removed in this version.
No true uppercase glyph set for this style (yet), and the only small difference between the Uc and Lc strings is the dot above (i j).
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-- Down here you'll find a link to the 'tiled' style version for this family:
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I hope you like it,
Cheers
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
Mostly a filled version to DECODER but with some modifications, especially on the diagonals. This because the way they were designed in the outlined DECODER font made them look far too thick in a solid version. So on these I cut weight to get a better visual balance. I kerned some pairs but a lot still needs to be looked into, which I will soon!
Cheers
This is a clone of STF_DECODERNumerous single brick pattern fillers and connectors, ready for you to use/clone/copy/change and put into your own designs or whatever.
All patterns are designed to work as a selection fill. So in other words: the patterns will always look the same regardless of the dimensions of your selected area!
They come in a wide range of styles such as: Retro, Tile, Seemless, Textile, Composite, Glitch, Minimalism
All bricks are stored and saved in the custom brick pallet.
Enjoy!
UNION WEST (Display) ― Classic Wood Type inspired slab serif
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This is the 'Display'(bold weight) version for the "Union West" typeface family
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[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.
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➥ More characters will be added within the following days.
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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
Cheers
Schlanke Schöne is a tall condensed geometric sans serif typeface.
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The idea behind this font was to experiment with making interresting letterforms, with fewest possible resources. In other words, fewest possible default core bricks, no filters and mostly without expert mode. The only expert mode function I did use was "stack" bricks to make a small number of resized compositions and composite sloped angles. The total amount of different bricks used in the font is 20.
The font design is a simple, fairly straight forward looking sans, but due to this the end result also is pretty legible and clean. I was able to get most of the features done within the design parameters, such include optical correction, diacritics, stylistic alternates and swash capitals.
Very simple, but playful fun...
The stylistic alternates and swash capitals have been stored in the "Halfwidth and Fullwifth Forms" unicode block.
Hope you like it,
cheers
Drop shadow version for the STF_SUPER MA(RE-)O BROS. family.
This is a clone of STF_SUPER MA(RE-)O BROS.MAUHAUS ― Feline inspired type design
[ THE CREATIVE PROCESS ] ━━━━━━━━━━━━━━━
This font was made because I have a cat. I love my cat, and this delight of a friend obviously loves me back. In addition to all this love, I also love to craft fonts, my cat is not to very fond about this.. So she loves to craft all sort of drama to gain my attention. Wearing me down with her mere persistence. I'm not to very fond about this.. So I slab her in the tiny face and modulate the crap out of her, stressing that nifty lil' stalker-happy pleb untill she gets a stroke. Than I make gashing incisions to all her intersects, making a pet-stencil.
No cats were harmed while making this font, this is just how we roll.
And one might wonder what a apple is doing inside a cat-font?? I know, but dont worry, the cat isn't a vegi...
― Lena say's 'Mauwww..' to all fellow FontStructors
[ FINAL WORDS ] ━━━━━━━━━━━━━━━━━━━
I guess that didn't clarify the ins and outs of this design, thats too bad !!
All I can say is that this is once again another concept following in the footsteps of the 'Bauhaus'-minimalism style and philosophy. Since I was not done yet with this whole raging Bauhaus frenzy..
― Lena hopes that nobody likes this font so far...
Meow
A sans-serif typeface design that was inspired by Tessellation. I choose to do it on a pretty small grid similar to small bitmap fonts. This had me running into a couple of small difficulties with structing some of the glyphs (a,e,s,x and #) untill I finaly was satisfied with them. This since I don't have a great deal of knowledge about small grid bitmap fonts. Also I did quite a bit of tweaking back and forth with spacing, width and kerning before it really felt ballanced to me! Overall I tried to keep it very simple from a design technical point of view.
Enjoy
This is a cloneOutline version for STF_SUPER MA(RE-)O BROS. family.
This is a clone of STF_SUPER MA(RE-)O BROS.A little bit of a experiment in finding interresting letterforms in the most basic of geometric shapes and without the use of any complex fontstructing techniques. And the only expert mode feature used for this was making composite brick to get the different slants and stroke weights.
Bellow I will include some further in-depth info about this design.
But, I'm very pleased with the final result.
Enjoy!