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My first ever font. I feel pretty proud of it. Ignore what the liscensing says, you can use this for free, commercially even. I just accidentally set it to the wrong liscense. As long as you reference me, it's open game.
This is a cloneI am going to expand this font. Why not, after all? It is my best work so far.
ALL BLOCKS UPDATED TO UNICODE 15.0!!
UNICODE BLOCKS INCLUDED:
Basic Latin
Latin Supplement
Latin Extended A
Latin Extended B
Latin Extended Additional
Latin Extended C
Latin Extended D
Latin Extended E
Latin Extended F
Latin Extended G
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IPA Extensions
Spacing Modifier Letters
Phonetic Extensions
Phonetic Extensions Supplement
Modifier Tone Letters
Ancient Symbols
Halfwidth and Fullwidth Forms (only Latin, Symbols and Katakana)
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Cyrillic (Basic)
Cyrillic Supplement
Cyrillic Extended A
Cyrillic Extended B
Cyrillic Extended C
Cyrillic Extended D
(Anbur/Old Permic)
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Greek and Coptic
Greek Extended
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Ethiopic
Ethiopic Supplement
Ethiopic Extended
Ethiopic Extended A
Ethiopic Extended B
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Armenian (Would really appreciate feedback)
Hebrew
N'Ko
Georgian
Georgian Extended
Georgian Supplement
Unified Canadian Aboriginal Syllables
Unified Canadian Aboriginal Syllables Extended
Unified Canadian Aboriginal Syllabics Extended-A
Cherokee
Cherokee Supplement
Ogham
Runic
Tifinagh
Lisu
Lisu Supplement
Phags-pa
Zanabazar Square
Mro
Old Italic
Phoenician
Carian
Lycian
Lydian
Gothic
Deseret
Shavian
Komi/Anbur/Old Permic
Elbasan
Osage
Pahawh Hmong
Toto
Old South Arabian
Old North Arabian
Adlam
Glagolitic
Glagolitic Extended
Old Turkic
Old Hungarian (Rovásírás)
Marchen
Buhid
Bamum
Kayah Li
Hatran
Yezidi
Caucasian Albanian
Miao
Masaram Gondi (incomplete)
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Hangul Jamo
(only modern Hangeul for now, I am desperate for feedback here!)
Hangul Syllables (discontinued)
Hangeul Compatibility Jamo (only modern Hangeul for now)
Katakana
Katakana Phonetic Extensions
Kana Supplement (only Katakana)
Kana Extended A (only Katakana)
Kana Extended B
Small Kana Extensions (only Katakana)
Bopomofo
Bopomofo Extended
Yijing Hexagram Symbols
Vertical Forms
Small Form Variants
Tai Xuan Jing Symbols
Counting Rod Numerals
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Combining Diacritical Marks
Combining Diacritical Marks Supplement
Combining Diacritical Marks Extended
Combining Diacritical Marks for Symbols
Combining Half Marks
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General Punctuation
Supplemental Punctuation
Alphabetic Presentation Forms
Emoticons
Miscellaneous Symbols (discontinued)
Miscellaneous Symbols and Pictographs (discontinued)
Supplemental Symbols and Pictographs (only face emojis)
Symbols and Pictographs extended A (only face emojis)
Ornamental Dingbats
Dingbats
Miscellaneous Technical
Currency Symbols
Letterlike Symbols
Arrows
Supplemental Arrows A
Supplemental Arrows B
Supplemental Arrows C
Miscellaneous Symbols and Arrows (non-astrological)
Block Elements
Box Drawings
Geometric Shapes
Geometric Shapes Extended
Superscripts and Subscripts
Enclosed Alphanumeric
Enclosed Alphanumeric Supplement
Control Pictures
Optical Character Recognition
Braille Patterns
Number Forms
Domino Tiles
Common Indic Number Forms
Mayan Numerals
Musical Symbols (excl. Iranian, Kievan, and Gregorian notation)
Ancient Greek Musical Notation (incomplete)
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Planned in the future:
Enclosed CJK Letters and Months?
CJK Symbols and Punctuation?
Mathematical Operators?
Miscellaneous Mathematical Symbols-A?
Miscellaneous Mathematical Symbols-B?
Supplemental Mathematical Operators?
Osmanya
Chorasmian
Warang Citi
Pau Cin Hau
Nyiakeng Puachue Hmong
Symbols for Legacy Computing
Music Notation
Ancient Greek Music Notation
Halfwidth and Fullwidth Forms (Hangul)
Hangul Jamo (full)
Hangul compatibility Jamo (full)
Hangul Jamo Extended-A?
Hangul Jamo Extended-B?
BOOTSHAUS — Geometric "Bauhaus"-inspired modernist sans
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Bootshaus is another endeavour into the Bauhaus realm of typography.
Focus for this font lies mainly within it's broad choice of glyph alternate forms to select from for stylish texts or logos.
Much of the extra glyph alternative forms are loosely based on the lettering by Sascha Lobe for the Bauhaus-Archiv
Many more glyph alternative forms are planned to be included, stay tuned..
— WIP
Cheers!
Tylluan (Welsh) = owl (English)
Having looked at this font to add glyphs for a friend's language I decided to change some of the original glyphs, for the fun of change ;) ....... if you saw, remember and now hope to download the original basic English version: sorry, it's out of circulation unless I decide to remove the asked-for glyphs/shapes in this version so that you can DL the new basic Enlish version with support for my language and some fun dingbats. This particular upgraded version of Tylluan won't be downloadable unless the 'owner' of it allows me to offer it to FS members .
I changed some curves, improved the e-mail symbol, added curved blocks and glyphs for some European languages including Welsh (( RAY if you want to use this DO let me know here via PM !!!)) You'll also see the Eiron := aka. interrobang (en), exclarrogatif (fr), Fragerrufzeichen (de) and some asked-for dingbats, including a slightly different one on dingbats "+"
This is a cloneInspired by Briem Script.
I am very proud and happy that I have been awarded a staff pick starfish. ⭐️
Arabic is basic, only Arabic and Urdu are supported. Alternate samvat forms for 2, 3, and 5 digit years are in PUA. If you wanna remove the notch in the U+16AEC, then use U+E000.
Only lowercase Georgian mkhedruli is supported.
My ratings dropped from 9.10 to 8.57??? omg these trolls are ANNOYING
Swiss Int’l - a typeface with faux Bézier curves, straight lines and the most of the Swiss typefaces.
Coincidently, this is my first font in 2024.
My first ever attempt on making a font with double vertical size and double horizontal brick size - KVN-Kahonde
Uppercase Height: 6 blocks
x-height: 4 blocks
Decender: 2 blocks
Time to make deh accents, hehehehe...
The numbers 6 and 9 have been modified to avoid confusion with the Cyrillic alphabet's letter Б.
THIS FONT IS NOT COMPLETED, NEED ADVICES FOR IMPROVEMENT!
Clone of Sterile Timid by Riccard0, enhanced with some central euroupean glyphs, cyrilic and improvised greek.
This is a clone of Sterile Timid r0.3VOLLE 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_BUISJESMore info on the script: https://www.omniglot.com/conscripts/sea.htm
This is a clone of Ambrosia SansMore info on the script: https://www.omniglot.com/conscripts/grandalphabet.htm
This is a clone of Ambrosia SansMy very first font. I am so very happy with the results, even with all the noticeable mistakes. It was so much fun making this and I hope to make many more fonts in this amazing platform.
I also have a serif variant of this font, that I had even more fun making. Hope you guys like them!
The name is temporary, I couldn't come up with a cooler one, sadly. The kerning and spacing isn't adjusted at all too......
DALLIANCE GROTESK — Geometric gothic grotesque
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Dalliance Grotesk is a solid sans-serif lettering concept that builds on the ‘core’-lettering concept of frongile's amazing work called Liaison Grotesk
Liaison is a renegade take on the gothic grotesque sans-serif style. A wonderful mix of early egyptian styles that get blended with subtle neo-grotesque hints, held firmly together by a rigid condensed geometric letter-backbone. The crude design of Liaison provides a very distinctive and unpolished appearance, that breaths a lot of visual character.
Its geometric quirkiness and rather irregular letter widths, just the slight imperfect overall lettering simply came together perfectly in frongile's original design. Making this a text-book example as for whyback in the day this style became known as ‘Grotesque’.
Yes, Ugly.. Obnoxious.. and... ‘Always in your face’
— Exactly how we like them best...
Dalliance Grotesk is the result of harvesting some of that original soul personality as was seen in Liaison and borrows it for extrapolation into a different font.
While Dalliance tried to preserve much of the overall letter-backbone structures from the original source, its primary aim was, to push towards a more polished finishing touch.
Simplified letters that were stripped of most quirks and bits, keeping only their rough shape intact.
In addition, all curved letter-parts were fully re-build with smoother contours and more natural flowing curve transitions. The spurred top and bottom stroke-stops for the lower-case letters had been changed so that the top now slightly differ from the bottom spurs (different tapered angle). Also the top spurs all have been slightly lowered to make them sit a tad bit bellow the x-height of the font.
Main modification revolved more or less around achieving cleaner overall text rendering and better optimization for body copy in small point sizes. In the process of getting there, I carefully adapted each glyph equipped fit, to appropriately accommodate all the ty(pro)graphic goodness one can possibly hope to pull out of a Fontstruct.
Smooth (near)-Bézier contour quality, optical compensating correction adjustments, such as overshoots, small vertical stressed contrast and improved stroke joints. Also the font's proportions for height to weight ratio has drastically changed.
— Utilizing sort-of an attenuate 'knockoff' to frongile's original concept for his Liaison Grotesk.
I would like to thank him for allowing me to harvest the basis of his lettering-concept and letting me re-use that as the stylistic back-bone in the creation of my own font.