STF_DER ZiiLTED - Neo-Grotesk italic hairline sans
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[ DESCRIPTION ]
The design is a simplistic slanted geometric hairline letterform with stylistic tapered spurs. Some extra glyph alternates were included to spice up this otherwise boring font, making it a little bit less boring.

The "DER ZIILTED" name was inspired by a poorly English speaking German person that is saying "The Tilted" in English but with a bad German emphasis on the phonetic sound of it hence 'der ziilted'
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[ INSIDE THIS FONT ]
■  Basic latin character set with only essential punctuation marks
■  Stylistic alternates
         • Double storey  lowercase 'a' & 'g'
         • Spurless lowercase forms (still in trial stage and likely will change)
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[ TECHNICAL ]
     ■  Metrics(in square grid units)
         • design grid                  13 × 5
         • em-square:                   8 × 4
         • cap-height:                   8
         • x-height:                      6
         • ascent:                          2
         • descent:                        3
         • optical compensation:   ☒
         • stroke weight:               0.25

Nearly no kernig was done yet, but will be done at a later stage, since I'm 99.9% sure about having screwed up protocol for glyph 'side-bearings' in Italic fonts. (Still figuring out how exactly this should be handled properly, so stick with me on this matter..)
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[ PROCESS ]
Let's start with mentioning that only recently I was still tested 'Very Green' for Italic genetic material (found 0.01%).
I have very little experience doing Italic designs in general, having done only a hand full of trials, but completed oly a couple. This is actually only the third 'true' Italic font that I have ever made with Fontstruct, and the second one (I think) that got publish. Don't ask me why it took me about 5 years to finally do another, but, let me tell you this. Looking back at it after doing this font — "I now know why". This was tough to say the least.
I can imagine designing Italic fonts in general comes with it's own set of challenges of course. Doing this in Fontstruct only adds numerous challenges on top of that — "what else is new, right?!" Nothing that wasn't expected for the most part. But "holy frog on a leopard", what do I absolutely positively very much regret the choice to do so in such a small stroke weight. This stripped away every possible tollerance and free space for finetuning and making finalizing adjustments to minute little details required to perfecting everything (curvatures, transitions, slants and optical compensation).

I did the best I could to get visual aesthetics at least acceptable, and somewhat complete enough character set for basic latin text. There remain some small imperfections present for now that still need to get addressed.

For example I started experimenting with trying to achieve acceptable optical compensations such as overshoot. For now I only temporarily applied this to the experimental 'spurless' glyph alternate set for trial testing purpose, looking for acceptable results. And only once I found all the necessary solutions for each requisite glyph I transfer these adjustments one by one to the main character set. But all options remain open for the time being, it might so happen that in a later stage I decide not to implement them after all.

The 'spurless' glyph alternates will remain included to the project, but in what final form for now remains uncertain.

So from a typographer's point of view the font surely will look very basic and perhaps even simplistic. But looking at it from a Fontstructor's perspective, this was a lot more than just the average walk in the park for me.

But to be honest, I doubt I will do another Italic Fontstruction any time soon,haha

I hope you like it so far.

Cheers

STF_DAMAGE INC. - Tech inspired condensed geometric sans.

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It’s a modern rigid square-based geometric sans that was designed to work especially well in body style text. It was carefuly crafted to be a spacious but continuous fill.
The squarish geometry provides a slight mechanical looking, yet clean and very open basic design.

Each glyph was further constructed with more than enough negative space (white space), making sure any text will look brightly lit and feels well ventilated at all times. This is especially welcoming when having to read large chunks of body text.

The uppercase character set was constructed somewhat of a fraction disproportionally taller compared to the  more naturaly proportioned lowercase character set. This to make any line of text that is set in 'all-caps' to make the impression of being condensed.
This effect is then exaggerated even more by slightly pulling back on the extent of any ascenders and descenders on the lowercase characters.

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I am pretty pleased with the result, it's overall look is fairly consistent and legible. The condensed effect allows squeezing a good decent amount of horizontal text per one single line of type.

The only thing kind of dissapointing to me was it's smallest possible point size in digital display use. It doesn't do well bellow 20px (14.5pt)in digital format.
20px is the absolute smallest size for everything to look crisp and alligned with the pixel raster, going bellow this point and the font starts to become blurry and distorted.

I wonder what any of u type wizards think so far...

Cheers

HeavyComp entry

Squariff square serif with and without the sans. ג is leaning folks. ק got his style from ל Let’s not forget here א is צ cousin. And yes that’s a י for the ה leading leg. These characters are all special so no special characters have been included  

Hasor Sans. Planned to make it with a "geometric" appearance, light and easy-to-read fonts. A bit out of how I am used to do, but the intention was exactly that, doing it distinct.

Yes, I know, db Patzer is a bit quirky, but likeable, charming by her curves and definitely expandable... Have fun with it! 

STF_VINDALOO (Regular Condensed) - Style variation in the 'VINDALOO' font family

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Cheers

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

Majuscel only.

STF_VINDALOO (Extra Bold) - Style variation in the VINDALOO font family

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.
 - - -
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.
 - - -
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-)

DECO-TESK - Bold Art-Deco display style

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No filters
Grid: 4 × 5  (small grid !)
Glyphs: 3 ×4.5  (+1 ascends & descends for punctuations)

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My 3rd  font for the "HeavyComp"

It's a all-caps Art-Deco display font. 

first try: Raw and complex font; have fun!

it works surprisingly well at pixel size

About name: https://en.wikipedia.org/wiki/Belka_and_Strelka. Also Belka means Squirrel in Russian.

See more:

https://fontstruct.com/fontstructions/show/479504/pistolera

https://fontsinuse.com/typefaces/41253/strelka-ultra

https://fontstruct.com/fontstructions/show/2138573/destinova

HeavyComp entry

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 curcular dot)

I hope you like it,

Cheers

(PS: Sample follows soon)

STF_VOORTGETROKKEN - Futuristic monoline display type design

my entry in heavycomp

a font full of inktraps

kind of inspired by monospace typefaces

What do you think I can modify...let me know in the comments

Anglia, named after the Latin name for England, Anglia.

Sorry if the quotation marks and comma look weird.

Cyrillic is WIP (work-in-progress).

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More characters coming soon!

Don't like the uppercase much. But the font seems to be complete. Used horizontal grid scale 1.5 in addition to filters

i made this just because i wanted to try out 4x4 filters

may expand to a full font later

a p̶e̶r̶f̶e̶c̶t̶l̶y̶ ̶n̶o̶r̶m̶a̶l̶ almost-grotesk with structurosa vibes

cloned from Maker Mono by frongile

i thought maker mono needed extensions, so i made this! a proportional version!

not all characters are done though