STF_FRONTAL BOSSING - A groovy bold and rounded Sans Serif typeface.
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This is going to be my second entry in the "HeavyComp"
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ABOUT THIS FONTSTRUCTION:
TECHNICAL:
Grid: 17 × 16 square grid units (incl. descends, overshoots, accents)
Filter: 2 × 2 brick size
BIO:
The idea was to come up with a friendly chubby fella.
And for all I know I think I have done just that. In the end, it does seem to appear it came out with a slightly bigger forehead than the average (but, no love was lost here, we have come to learn to appreciate the misfits).
Despite its weight and slightly clumsy appearance this juicy Mr. Boogie still got dat funk, and can not wait for it to be the next saturday night.
Even so, when he for once isn't told to "Swing and Boogie" he still is nice to have hanging around. His friendly persona is only to be matched by the ever so nice soft curves. "No sharp edges to detect here".
I can only hope for that all of you come to appreciate him as well! ;-)
(Let's do this in another language as well)
CONCEPT:
The idea was to make a letterform that has a friendly looking design. I tried to achieve this by way of softening all hard convex corners with a smooth rounded curve. And by "all" I litteraly meant, even on all diagonals, accents, thin strokes and stroke tips (Nothing was left untouched).
For all the concave corners, so the negative space (white space) of the letters have multiple solutions depending on what is happening (does it curve, intersect and or wether a stroke continues or not)
The curves all have near hi-res looking (a couple of minute imperfections) but otherwise smooth surfaces, and there are multiple custom created ratios/transitions, such as:
1.5×1.5, 2.5×2.5, 2.5×3, 3×4 (+ The bullet is a 7×7 circular dot)
I hope you like it,
Cheers
(PS: Sample follows soon)
MIKITA - A "Chrome Script" style font based on the "Makita" logo type.
It is a simple 'semi' connected script, with only the basic character set. I don't feel like this requires having tons of typographic features. It is just aimed at writing simple things in this script style.
I hope you like it nonetheless
Cheers
REWINDER - A bold and decorative "I don't have a clue" style font.
Alternative lowercase versions for (a, c, e, g, j, m, n, o, q, s, u, v, w, y, z)
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Usually I design fonts from a general concept I have in mind and start with the Latin alphabet first since I am most familiar with these characters. Then when I have completed these I start adding extra language support. letting everything evolve from there on out into the other languages such as Cyrillic or Greek. Doing it in this fashion I find myself having the best change of doing a decent job designing characters I am not familiar with the right way and in line with the design parameters.
This time I starten designing the Cyrillic alphabet first, trying not to think about the Latin set design at all. I did this in an attempt to have a neutral mindset that wasn't influenced in doing it a certain way.
And I must admit, this was the best and most comfi time I ever did a Cyrillic set. I experienced a sense of having a lot more freedom for creative output.
The result became this cool looking "hell knows" what kind of style letterforms. I have no clue if I actually did a decent and accurate job at the Cyrillic set, and I'm not sure where to go from here on out either.
I hope you like it so far
Cheers
Recap of the lettering seen on a old brochure by Wendingen for the "Internationale Theater Tentoonstelling Amsterdam 1922"
The brochure and letters were designed by:
"Hendricus Theodorus Wijdeveld" (4 october 1885 – 20 februari 1987).
As usual I completed the alphabet, but (since its mainly a display typeface) this time I used the punctuations to store some glyphs meant to be used for drawing ornamental decorations as seen on the original brochure design.
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!
This is a cloneExtrapolation of the lettering found on a Dutch renovation brochure. I have no clue if it is a existing font or not. I only used the letters from the brochure as guide and did zero research on it's origin.
Enjoy nonetheless!
STF_NEUE ISAIAH - 70's Art Deco / Streamline style typeface
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Most of the design credits for this font should go toIsaiah Garciasince I took the liberty of revisiting her fontstructionFS Idea
Please check out this member's awesome contributions here:Ivy Meadows (Isaiah Garcia)
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[THE PROCESS]
The one major difference between the two works is the grid size and construction method, Isaiah's version was made using a faux-Bézier approach (very labour intensive) and requires a fairly large design grid, whereas my version is a small grid design, utilizing the circle arc bricks and composites to achieve smoother contour quality, and was done on just a 4x7 grid using 2:2 filter.
This different approach and limitations in small grid designs have led to a number of small changes for certain glyphs. Also have I change some details slightly to my personal preference. But it remains very much Isaiah's design.
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[THE FONT]
I tried to remain as faithful to the original font as possible, and in addition tried to further expand the character set. Most important differences made in my revision are the additional lowercase chatacter set (spurred strokes), the uppercase alternative forms / lowercase alternative forms (spurless) and extra symbols.
Enjoy!
This is a cloneSUPER MA(RE-)O BROS.
A bitmap typeface family that recaps the classic fonts that were used for 1985 Nintendo Entertainment System game "Super Mario Bros."
-- It's a large piece that covers a bit of everything. And two seporate typefaces will be published the following days to accompany this one seemlessly.
both more less finished as well, but changes were made in this one that requires the other two to be fixed again in order to seemlessly work together before getting published, So stay tuned!
About this fist part:
It combines not just the two (title screen and ingame regular text)fonts used for this game, but also includes dingbats related to the game, and combines it all into one single typeface!
The sample will only display correctly at exact pixel size or double the value of this due to dither gradients that otherwise not show as a solid surfaces.
Basic and Extended Latin - letters seen at title screen
Superscripts and Subscripts - regular text font (only partial alphabet, as according to the unicode standard for this block)
Miscellaneous Symbols - miscellaneous dingbats related to the game such as emoji's and blocks to make seemless ornamental features like seen ingame
Halfwidth and Fullwidth Forms - regular text font but with full suport for both uppercase & lowercase, as well as numerals and basic punctuation.
Enjoy!
BACK TO THE FRAKTUR - Modular geometric calligraphic blackletter
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Calligraphy inspired design, that even though it's name can be deceptive, suggesting one in thinking it is a Fraktur derivative. Which is actually quite not the case, and as far as being a calligraphic Blackletter inspired work, the similarities between the two stop.
This is a heavily simplified and geometric take on the calligraphic style, with much more modernized letterforms as well.
It remains a WIP, but I'd love to hear what u think so far.
Cheers
INNERCITY — Geometric future retro display grotesque
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Geometric unicase display sans with a stylistic filled counter-like (Uc) set and monolinear 'bare-boned' geometric grotesque (Lc) set.
— Full alphanumeric dual-variant font !!
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Elmoyenique's "zenzura" (a very stylish work in it's own right, make sure to check that one as well) anyway,
His 'zenzura' font kind of struck me with a healthy fresh dose of motivation. In the past I've explored somewhat similar style designs, but none of those ever really got consolidated into the extensive and complete work Elmo delivered with his stunning zenzura.
So I decided to dig up one of my older such projects and see if this new motivational boost could turn 'half'-a-font into a complete piece.
Long story short, this update is the result of that venture.
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Where previously this project came in just one style (filled counters), with no additional glyph alternates. Basically a complete absense of the lowercase-string all together, and only very limited complementary set of symbols and punctuation marks were present. Neither did the previous version had a great deal of refinement in terms of metrics / kerning and overall horizontal distribution of type-set material. So, it was nothing more than a plain doodle of the idea I had back then, that had to be preserved for a later stage.
But being drawn into more recent projects at the time I eventually ren dry on motivation to fully finalize this I ended up publishing it in its rough state.
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ABOUT THE UPDATE:
The'bare-boned' lowercase is a somewhat futuristic geometric looking form, whereas the filled uppercase set has a strong retro vibe.
Combined in 'mixed-case' it can make a cool optional decorative style capitalization for your text. Used in isolation the two styles (Uc, Lc) both could be used as two seporate fonts, allowing stylistic text hierarchy.
In addition to the stylish retro-like, and partially filled forms I included a glyph-alternative set that strips the letterforms down to their monolinear core-geometric essence.
The design of this set is characterized by the spacious, sharp and clear appearance, that looks slightly futuristic but fashionable still.
With this new addition being the more legible and clean form of the two style sets, I placed this variation into the lowercase-string, making this the default-style for the font.
For the numerals, symbols and punctuations, I tried to remain committed to the stylish filled nature of the uppercase set.
A full alternative monolinear and 'bare-boned' numeral counterpart is located in the 'Full Width' Unicode block. Two extra weight variations for the brackets are also included for a more precise personal preference..
— And so it finally could respectably considered being a full font after all.
Thats all folks.. Enjoy !
cheers
This is a cloneSTF_ELEGANZA (Therapy) ―Contemporary geometric humanist sans
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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 clean headlines or ads as well.
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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, that in return give many of them a somewhat harsch and featureless mechanical appearance, I choose to try and achieve the opposite, aiming for a softer, friendlier and more humanized feeling instead.
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Dimensions: (in grid units)
X-Height: 1 .625
Cap-Height: 1 .875
Em: 3 .5
Brick Size filter: 2 : 2
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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.
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The other style variations can be found here:
ELEGANZA (Tight)
ELEGANZA (Tall)
I hope you like it...
This is a clone of STF_ELEGANZA (Tight)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.
That wasn't all (LOL) but yeah I'm done typing for now!
Hope you like it, more info follows..
Cheers
This is a clone of STF_BUISJESA letter decorated with a tilting dot pattern.
It's inspired by lettering seen on a brochure for Dutch theatre group "Sater" which was designed by "Jurriaan Schrofer".
I couldn't get it much more accurate that this, neither do I think it was wise desicion to make the main design isometric. Since now I'm tied to this projection. I might do a straight aligned version in the future.
Anyway, I think it is still a cool looking type
This is a cloneIncised version for the LOOP typeface family with rounded corners.
This is a clone of STF_LOOP (ROUNDED)Recap of the lettering from Dutch hardware store-chain "GAMMA".
I have absolutely zero clue on who originally designed it.
(If someone here knows more about the origins please let me know, thanks)
Nonetheless it's a pretty cool futuristic looking design as well as a tribute to its predecessors that set the tone for the genre at the start of the last century.
As usual the alphabet is completed and some punctuations is added.
- Okay, this requires a little bit of heads-on info first, to prevent any misunderstanding.
It's a attempt to struct the (I think) pretty well known typeface
"Cyber Monkey"
by none other than Fontspring founder & Fonthead Design Inc.'s:
- Ethan Dunham.
The original typeface by Ethan has been around quite some time and has been used a lot over the years in various of my design projects.
The original Cyber Monkey digital typeface by Dunham was commercially published back in 1998 by Fonthead Design and can still be purchased online via multiple font shops.
My fontstruction, despite its notable clear resemblances is by no means meant to commercially violate or abuse the original intellectual property of Dunham.
About Cyber Wolf (my fontstruction)
Actually it came into existance when I was fooling around in the editor and was building some ideas on chord-like letters. (And since I dont know a lot of typefaces in this style) I soon realized that through most of the time I kept on structing letters that I could sort of remember from Ethan's typeface. so I tried working from that point out to guide, but absolutely did not lead anywhere. lol
So I decided to quit the whole idea and turned the project into a fontstruction that heavily copied Ethan's Cyber Monker typeface to begin with!
It's not a real recap or accurate copy of the original, but does show striking similarities.
Enjoy none the less!
This is a cloneTypeface design inspired by brand logo of British consumer electronics company "Sinclair Research Ltd."
The entire typeface was build exclusively around the already existing eight letters that make up their logo.
I have no clue on wether a complete typeface ever was made, or that someone has tried this before. So far I have never stumbled upon one yet , not even in their official product ads and brochures.
Enjoy!
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
This is a cloneTYPOGRAAF — Geometric modernist display typeface
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Typograaf is simple looking modernist style aimed for display use. It doesn't work well in a long line if text nor at smaller sizes. But perfect for large display work, logo's and such. The letterforms have several little nuances and multiple custom crafted curved parts with smooth (near) real Bézier contour quality.
So far only general concept plus some extra's was created, no multilingual suport for now.
Let me know what you think
Cheers
Attempt to recap the classic lettering by "Theo Van Doesburg" for avant garde architectural magazine "De Stijl".
Apart from some small variations I made between a couple of upper and lower case characters the two are mostly copies!
STF_ELEGANZA (Tight) ― Contemporary geometric humanist sans
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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 clean headlines or ads as well.
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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.
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Dimensions: (in grid units)
X-Height: 1 .625
Cap-Height: 1 .875
Em: 3 .5
Brick Size filter: 2 : 2
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This version is the 'Tight'-style in the 'ELEGANZA' typeface family. It has a slight compressed effect on its vertical axis that sets this apart from typical proportioned faces. Tightening the Leading and allowing greater quantities of lines per inch.
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The other style variations can be found here:
ELEGANZA (Therapy)
ELEGANZA (Tall)
I hope you like it...
This is a cloneAVANT-GARDE i10 (Tiles) - Tiled modular 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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I provided the (A-Z, Uc & Lc) basic latin character set, numerals, basic punctuations & symbols. Some of the symbols could still use slight improvements though. But the grid/brick system parameters did pose some tough limitations in regard to the allowed complexity.
The quality of the font preview shown above by FS's website is very poor and inacurate due to the combination of brick size filter (0.90-0.90), very small incisions and composite bricks. Best you'll check the sample image bellow in the comment section.
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-- Down here you'll find a link to the 'regular' style version for this family:
(The regular version doesn't come with a full uppercase set)
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I hope you like it nonetheless,
Cheers
I joined Fontstruct December last year.
My very first contribution back then was a tribute to the great Dutch graphical designer "Jurriaan Schrofer". And many more followed.
These past six months have passed very quickly, and, much to my surprise I can proudly pronounce that I have passed the point of 10,000 shared glyphs mark. Totally crazy, I'd never expected to have been putting out such a substantial volume of work.
Thank you all for the kind words and the support I so far reveived. I hope all of you have been enjoying my contributions so far, since there is much more to come! :)
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As for the new font,
It's not so much of a celebrating work for a 10.000th glyph submission but it isn't bad either, so enjoy once more.
Another recap of the works by "Jurriaan Schrofer"!
(all downloads will be back available soon, sorry for the incovenience.)
Cheers
This is a clone of STF_JS-CUTOUT 1985LEOPOLD PRO (Sans-Regular) — Modern geometric condensed sans
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This is a minimalist, geometric sans serif font with medium contrast and a strong compressed look. The modern condensed forms make up an elegant and classy looking font.
The overall design is a mixture of contemporary design with antique inspired elements.
The other style can be found here:
LEOPOLD PRO (Serif-Regular)
Cheers
This is a clone