STF_V0N BRAUN - Simple geometric sans-serif typeface.
I tried to recreate the Braun GmbH logo type from 1952 and work it out into a full font, I used only the five letters in the logo as a reference. Since there are a bunch of revivals out there already. I just did my own interpretation of it.
Enjoy!
Fleurella - Simple modern yet elegant sans-serif typeface design.
WIP (See discription in the comment sections sample image posted bellow.
What I forgot to mention is that the big decorated "fleurella" monogram is in fact an experimental different weight that might become a new font.
All the decorative ornamental parts (animals, plants) are located in the "The Private Use Area (PUA)"
Accessing them on Windows is easiest using Character Map
- Start Menu, type ‘character map’ and select the relevant app
Cheers
This is a cloneDrop shadow version for the STF_SUPER MA(RE-)O BROS. family.
This is a clone of STF_SUPER MA(RE-)O BROS.JS-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 cloneSTF_Littera Textualis Emergo - A formal Gothic minuscule script.
It is finally done!
It took me around 3 full days of design work and polishing.
The major character design part is about done, and I probably will only add some additional extra ligatures and special characters.
The design approach is a large grid Faux Bezier style to get the most out of custom shaping Top/bottom grid scale is a total of 71 bricks with ascenders and descenders included.
I have done a whole lot of finalizing background work already, and many pairs have been kerned already, but not everything was done yet, this is going to be completed within the next few days.
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- Littera Textualis Emergo -
A formal Gothic minuscule that was inspired by Latin bookhand script, better known as 'Textualis'. This script was popular between the 12th & 16th century. Basically Those that would have been used for the main text of Latin books.
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A more detailed description is has been written down in a sample image posted in the comment section bellow.
I hope y'all like it as much as I do.
Cheers
This is a clone of STF_SCRIPTORIUM (SHADOW)STF_VINDALOO (Regular Condensed) - Style variation in the 'VINDALOO' font family
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Cheers
This is a clone of STF_VINDALOO (Regular)STF_VINDALOO (Regular) - Style variation in the 'VINDALOO' font family
This is the lightest version in this font family and is the most suitable style for more of a body text use.
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Of all the versions this one proved to be the most challenging one to implement all the stylistic details the heavier versions also feature. And in the end I was unable to transfer each and every one of them into this version. But that seems to be far from any issue at all since this is aimed at smaller point size and best legibility. So I guess some slight extra simplicity wouldn't harm!
Another notable difference in this version is that some glyphs received more changes than just a 1:1 straight weight cut. This was done because either a straight weight cut would've made the character look awkward or due to technical difuculties.
Despite the above I think it came out just great, and absolutely a clearly recognizable family member.
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All the versions will receive more language support soon (stay tuned)
I hope you like it so far.
Cheers
This is a clone of STF_VINDALOO (Bold)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.
SMEERKAAS - Decorative, squarish geometric and rounded Art Nouveau display type
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Modern typeface design influenced by Art Nouveau typography.
At its core it is a plain geometric style, and the real breakaway towards a more decorative 'Art Nouveau' inspired style starts with the elongated letterforms and their irregular descending elements. These give it a slight more interesting and dynamic flow that somewhat resembles a calligraphic or handmade look. Some of the descending elements in the uppercase string slightly differ in length and are more decorative, mimicking a dripping-like effect.
Unlike with a more traditional Art Nouveau lettering, the geometric backbone of this design keeps it quite futuristic looking, and actually provides a nice transitional blend of styles.
It works well at pretty much any point size, even at the very smallest, but keep in mind that the font wasn’t meant for large body style text, and is best used in short decorative setting.
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Cap height: 12 units
Body height: 17 units
Point size (Em): 18 units
― I will add extra glyph alternatives in a later update (posted: 09-14-'22)
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The name “SMEERKAAS” is dutch for “cheese spread”and it likely needs some further explanation on why this particularly odd name was chosen.
During the eighties we had this idiotic tv commercial that was aired on dutch
television for a cheese spread brand called “Goudkuipje”.
The plot for this commercial was a castle siege during medieval times, and it revolved around the phrase;
― "Ze smelten de kazen!" which translates to; ― "They melt the cheeses!"
The plot further enfolds into the defending part that had run out of hot tar to pour onto their enemies, alternatively they started melting cheese, so that they would be able to pour that down the castle's wall.
To better understand the link between my font and the tv-commercial you should watch the short commercial clip first.
Video Linkhere - youtube.com
But in a nutshell, the name was sort of choosen as a meme to suit the font's dripping-effect decorative theme.
I hope you like it so far...
Cheers
This is a cloneSTEAMLINER — 1920s Art-Deco style
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[ INTRODUCTION ]
Steamliner is a simple looking linear All-Caps display font with elegant geometric letters. It comes from a mix of Art-Deco retro style with a distinct irregular curved asymmetry, Essentially blending Art-Deco with Art Nouveau into a more simplified clean & solid lettering style.
The character set mixes various glyph alternative forms for the capital letters together to provoke a slight feel of randomness.
— The font Em-square is only 1.5 × 1.5 bricks
Cheers
FRUNTSTOCT UPPER — FontStruct logotype uppercase reinvention
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This second font is the next evolution in my take on the Fontstruct logo type.
Its an experimental approach towards the reinvention of its uppercase letters. The first one was a unicase minuscule that was aimed at creating an improved version of the original logo lettering concept. FRUNTSTOCT LOWERremained faithful to the original letters, whereas FRUNTSTOCT UPPER is a complete reimagining.
Motivation behind the complete overhaul came after checking out existing Structurosa entries by other Fontstruct members.
It became evident that only one or two members truly were able to build upon its original concept and could come up with a 'unique' and decent majuscule.
AT Archistruct Outline by Kassymkulov (aka Architaraz) being the clear winner in my opinion. — Which is a true masterpiece !!
Some others 'tried' to be original, and made an attempt at a personalized lettering, but couldn't solidify ideas into a consistent whole. But the majority simply copied rob's original design.
— For that reason I choose to take the alternative road and tried to come up with something new.
I hope you like it..
Cheers
KROEPOEK -Letterforms influenced by the orient.
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Simple geometry based design that tries to imitate Asian style letterforms.
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The font comes as a "all-caps"(majuscules) with the lowercase string used to include a set of glyph alternatives for the uppercase set, but cutting the descending parts of the glyphs.
As a little bonus, a set of underlined lowecase vowel alternatives (a, e, i, o, u and y) was also included to allow a small level of personal depth. These can be found in the Unicode block for: 'Halfwidth and Fullwidth Forms'
Besides the letters there is also a set of essential punctuation and symbols present to make the font proper functional.
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I hope you like it,
Cheers!
FABRIKATA —1920s Art-Deco & Dada Constructivism inspired style
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This is latest in experiments into constructing high quality customized curved shapes in small grid fonts.
For FABRIKATA I intended to break away from the grid completely, and create complex geometric letterforms with ultra smooth custom curvatures (near real Bézier).
This is what became the end result of that endeavour.
FABRIKATA sits somewhere between Alphabet Soup's Grafika typeface, countless of old Dada Constructivism print material and the brand logo lettering for Plantur 39.
TYPOGRAAF — 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
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 cloneSEADWELLERS — 1920s Art-Deco Sans style
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I was somewhat inspired to do a Art-Deco style lettering of my own after seeing the stylish Art-Deco flavored FontStruction Aquamarine by IronClaws
Other than that the two fonts remain unrelated and Seadwellers poses no resemblance to Aquamarine. Instead I sort of did a 1920s Art-Deco style lettering with thin geometric letterforms. It's comes as a Majuscule only and the letters have nice quirky width variations, with some letters appearing almost extended, while others are more narrow.
— The similar aqua-themed concept is merely coincidental.
Only basic character set!
It remains a WIP for now..
Cheers
STF_VINDALOO (Extra Bold) - Style variation in the VINDALOO font family
More versions coming soon!
Cheers
CHAPPELL & Co. Ltd. - A simple bold sans serif display typeface.
Nothing out of the ordinairy here, just nice clean looking letterforms for good readability.
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The font was based on the lettering seen on a 19th century sheet music artwork. The lettering saying "CHAPPELL & Co. Ltd."
I made some small changes along the way to in order to complete the full alphabet and extra's.
This is a cloneBENGALIQUE - Contemporary grotesk type
A condensed geometric Grotesque style, that at first glimpse looks somewhat simplistic. And for the larger part this is true. The goal was to do a ever so slightly spiced up take on this 19th Century classic style.
At it's core, the letterforms have this strong geometric grotesque backbone that is easy to recognize.
While trying to preserve that unpolished characteristic classic Grotesque basic form, I attempted implementing some personal twists, hoping to make a more contemporary but faithful variation to it's crude classic renegade traditions.
Some of the more distinguishing features for this font are it's heavily condensed style, the somewhat quirky curvatures, overshoot and/-or tapered ends in certain 'sweet spots' on a glyph's leg or terminal.
At random some legs will also ascend and descend just a tiny tad bit, gently adding this extra layer of dynamic depth and playfulness.
Spurs are slightly tapered, counters, negative spaces are in mostly rectangular and do not mirror their convex outer curves, in fact the only concave curvatures within a partially enclosed negative space are those that have strokes intersecting or when a curved shape is used to replace diagonals.
(such as; "B, Kk, Ss, Xx, Y, Zz" numerals; "2, 3, 5, 8")
Note that a couple more unmentioned characters make use of concave curves as well to accentuate specific choices.
(such as; "R, t, ß, etc.")
Visual corrections and optical compensating was exclusively performed on the top part of the glyphs, not their bottom.
-- Some additional side-bearing and kerning is still required --
No filters used...
The font works best for 'Display Type' at most point size. In smaller quantities it can be used for 'Body Type' as well with some proper adjustments to the horizontal spacing. But, nonetheless the font's condensed nature, it's tight letter spacing and some thinner strokes still heavilly affect the flexibility for legible Body-Type-use.
Recommended size for Digital-Display-use is 28pts or higher, and bellow 20pts the font becomes unreadable in Digital-Display-use. But I hope you like it so far, and feel free to let me know what u guys think! ?
That's all for now folks..
Cheers
STF_VINDALOO (Extra Bold Condensed) - An extra bold and condensed Art-Deco display sans
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This initially had already been a published work from my early days of Fontstructing and the original had a lot that was less than desirable. For a start, the obvious rookie mistakes, that were due to the lack of typographic education as well as insufficiant knowledge about the overall Fontstruct-Editor Expert-mode features.
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Now several years later, fully acustomed to the physiology of Fontstructing (composite bricks, filters, behaviour) but above all, to be able to visualize ahead and to conceive imaginary conceptual thinking for new ideas or solutions within the FS-Editor limitations. And in return to bounce back from these restrains and make them work in my favour.
So now I feel like I have to give some of my older Fontstructions a serious reassessment, and perhaps do some revisions here and there.
There are numerous hidden gems and potentials within these works, for which back in the day I remained unable to accomplish to their full glory and complete satisfactorily successful end result and design objectives.
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To get back at this particular font:
There was some unsolidified hidden beauty in certain forms that had yet to 'truly' be revealing itself. I completely overhauled a clone but basically ended up with more of a new font instead.
And I really like it
B-)
This is a clone