The word 'Messy' led me to consider my personal habits, especially my hair. Through exploring my own photography of hair arranged to form basic letter structures, I considered texture, shape and tone. Further research and discussion introduced a resmblance with 'Black Letter' type ie. thickness in line. Therefore, I combine hair aspects with the traditional typeface. I believe my creation successfully modified the well known font by introducing more complex curves while still acknowledging the original theme.
Working under the theme of 'Rebirth', I have focused my first font on the idea of post-war architecture, or otherwise commonly known as modernist/brutalist architecture. Buildings constructed following the Second World War were built using new technologies of construction. These types of designs were known for their use of modern materials such as concrete and steel as well as their interesting geometrical forms. I was heavily influenced by the architecture featured in Owen Hopkins' book 'Lost Futures' which looks at the disappearing architecture of post-war Britain and how changing external contexts played a role in the subsequent destruction of these buildings.
fs flimsy
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I usually do thick or heavy fonts, so this time I decided to go a different route and do something thin and skinny. The diagonal line on the zero is a little thick, so I might change that later. If you have an idea for the @ symbol, please tell me, feedback is appreciated. Thanks
By popular demand, I'm very proud to present you this recreation/digitization of Maxim Zhukov's Meander (an experimental modular type design from 1972, which was used in cover artworks for Stereolab's Dots and Loops album and Miss Modular EP).
Now supports Cyrillic characters and includes other custom-made glyphs, like numerals and punctuation marks.
References: Type Journal: "Towards an open layout: A letter to Volodya Yefimov", "Искусство шрифта. Работы московских художников книги. 1959–1974" (The Lettering Art. Works by Moscow book designers 1959–1974), pg. 35
Estrofft - an german typeface.
Named in honor of Wim Crouwel. The main idea was to simplify the Latin alphabet as much as possible, reducing the letters only to verticals and levels, but still leaving the alphabet very readable.
Capital letters: hard shapes.
Small letters: soft shapes.
BOUWHUIS - 'Bauhaus'-modernism inspired minimalist geometric sans
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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.
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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
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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
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.
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!
Inspired by the lettering found on a vintage sheet music cover art for "La Java bousculée" released in 1924. Cover illustration and letters are designed by "Robert Laroche".
I attempted to complete the alphabet and numeral plus some punctuations!
F.F.M. (ANGEL DUST) — Futurist constructivism style lettering
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Digitization of a typeface for one of my all-time favorite record labels, the German (Frankfurt) based "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.
This is the ANGEL DUST style variation for F.F.M. and this version features an entirely different font, but sourced from that same record label.
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
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 cloneF.F.M. (Sharp) — Constructivism style lettering
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Revision of a typeface for one of my all-time favorite record labels, the German (Frankfurt) based "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 the 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 Sharp style variation for F.F.M. and this version features sharp/hard 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 cloneFABRICON-CAST is another style variation within the FABRICON family.
This style was inspired by metal casting and apart from some minor varriations I made to the punctuations it's very similar to the other styles in this family. Except that unlike the other styles this one will not combine seemlessly with the rest.
This is a clone of STF_FABRICON_(OUTLINE)A piece of constructivism inspired by Dutch artistic movement "De Stijl".
This is a clone of STF_FABRICON_(OUTLINE)A piece of constructivism inspired by Dutch artistic movement "De Stijl".
This is a clone of STF_FABRICON_(OUTLINE)A remastered version of the classic lettering by "Theo Van Doesburg" for avant garde architectural magazine "De Stijl".
So, rather than a replica of the original, this is a 2018 view of the classic letters. It still follows the global contour of the original letters but instead of being stenciled it features solid glyphs.
Modernism alphabet
This is a clone of STF_HETERODYNE_(SOLID)