BOOTSHAUS — Geometric "Bauhaus"-inspired modernist sans
═══════════════════════════════════
Bootshaus is another endeavour into the Bauhaus realm of typography.  

The focus for this font lies mainly within it's broad choice of glyph alternate forms to select from for stylish texts or logos.

Many more glyph alternative forms are planned to be included, stay tuned..

— WIP

More info soon!

Cheers!

I made this font with a white napkin over my head, I guess.

VON NEUHAUS — Geometric “Bauhaus”-inspired style
═══════════════════════════════════
This is the latest evolution of a “Bauhaus”-inspired constructivist style typeface design that originally started 5 years, or two font versions back.
To me personally this is a long awaited triumph, that has finally materialized after years worth of been haunted by this idea, and the crazy speculations about this ghost that would never be...
Well, that was untill now...  So at last, I can now finally proudly present to you this latest of arrivals to come from this unforeseen series of typeface progressions.
This newborn addition is in fact the 3rd phase of this letter concept's evolution, and caused the font project to undergo a series of addaptations that graduatelly increasing the levels of sophistication possible by chaging it's internal structure and behaviour within the FontStruct-editor. This 3rd addaptation unlocks the FontStruct editor's “Expert Mode” full power potential.
Enabling all editor functionallity to provide the most versatile font creation capabilities available within FontStruct.

STF_BLAUHAUS was the font's very first version, created back in early 2019. It's the font's original concept as it innitially was first intended. It essentially started out as a personal study into the design of letters on a small grid. And more importantly, the creation of required composite bricks to do so.
The idea back then was to craft the most complex geometry possible without the use of any “Expert Mode” functionality whatsoever. Now, what this innitially did was still quite novel to me at that time, as this had led to the development of a FontStruction that was solely built from the extensive use of composite bricks. Not just a couple, but a staggering 272 composite bricks in total. Many of which in fact are quite intuitive and required certain amounts of careful thinkering with the maths found in it's geomtry to craft these custom brick compositions.

So as explained above, there was no use of any of FontStruct's “Expert Mode” functions. This meant that the option to nudge, flip or rotate any of the bricks wasn't available. Now this changes everything in respect to building complex fonts, since in order to get all the bits and pieces of a letter such as: crossbars, intersections, curves and corners properly aligned requires, a precisly fitting composite brick to be tailor-made. In terms of the FontStruct limitations, this cause the physical properties of FontStruct's brick composition tool to be fundamental as to how much complexity and refinement can be put into it's letter geometry. In other words this is fundamental as to how well crafted the design is going to look in the end, since there is no option to further manicure shape or form other than from within those bounds of the adjacent 16-brick-array grid squares of a selection for composition.

I've choosen to design the alphabet concept in this “Bauhaus”-inspired geometric style, simply because of the simplicity this style has in terms of its basic pure geometric forms. The final result became this simple and bold looking small grif display type with a “3-bricks” Em-size only.

but it had some crucial compromises that had to be made due to FontStruct's design limitations. Not terrible, but not quite perfect either.
One very important byproduct from this limitations as were described above was a huge collection of very intuitive custom brick compositions that offer seemless alignement and perfect fits, basically an extensive set of custom bricks that work in a very similar fashion as FontStruct's default “Connect” bricks.

Bringing us to the main reason for 2022's version of this font.
STF_BLAUHAUS (Plus) was the font's second version, and most recent state that it sat in for the last year, up till this now. In this 2022 version of the of this font design modification the FontStruct editor's “Expert Mode” functionality was introduced into the design. Hoping to further manicure some of these compromised critical area's in an attempt to see what refinements could be implemented to revise the 2019's original version.

Now that the option to nudge, flip or rotate bricks was available, new more complex geometric shapes suddenly became possible. This sparked an explosion of new characters and additional alternative forms. Although now the FontStruct editor got vastly more versatile and potent, it remained strongly limited by that still present 1:1 brick size filter setting. Nevertheless, this made possible a very substantial update of the older font, and allowed many new shaping capabilities.

STF_VON NEUHAUS is the 3rd and final evolition to have come from my earlier FontStruct endeavours; STF_BLAUHAUS and STF_BLAUHAUS (Plus)
This version  basically saw the transition from a font only using 1:1 brick size filter into a font at 2:2 brick size filter settings to unlock all power potential of the FontStruct editor's “Expert Mode” functions.

I could now write another eqyually as long body of text, explaining what's new in this final version or which other improvements were made, or say about it whatever the hell I want, but I figure that the picture becomes even more apparent when simply comparing the 3 fonts from old to new, and see the evolution happening before your eyes.

Start with STF_BLAUHAUS, folowed by STF_BLAUHAUS (Plus), and witness the full glory of "next-level" FontStructing that made possible the last version STF_VON NEUHAUS.

I hope you like it,

Cheers

GlyphLandyn/Lilly is a sans-serif, pixel optimized with monospace Latin, Greek and Cyrillic letters and PUA (Private Use Area) characters. The  Object Replacement Character is a full square.

This font also includes Thai characters and Linear B Syllabary.

This font is edited with Fontstruct.

Exercise

The alternative of Stf nobuntu

Groutaskk - a humanist/geometric sans serif typeface

Version 1.0.0

 - Making more custom smooth rounds, Improving the inktraps & the tapered spurs of some glyphs(M,N,a,b,d,g,m...)

 - Making more custom bricks and composites

- completed all the chars in the Unicode block "Basic Latin"

Version 1.0.1

- added  more accents and finish the Unicode block “Latin 1 supp.” & some chars in  “Latin extended a”

Art-Day-Co. — Decorative geometric futurist sans
═══════════════════════════════════

A more experimental and fururistic take on a standard geometric grotesque that started out as "All-Caps" lettering concept. The innitial first idea was to create capital letters only and to provide these with additional capital letter alternate forms, Now, things not always go as they were invisioned, as was the case during this project..

After creating a couple of capital letters, and just when I was thinking I had this new brainchild for a cool looking font, I ren out of ideas for more experimental letter solutions; — Inspiration dried up quicker than water droplets evaporate on the surface of the sun!

But honestly imo things especially got interresting when I unintentionally started doodling lowercase letters for this font. And I don't know what happeded here, but it somehow completely changed the mood of this font (To understand what I mean just cross-compare 2 lines of text, one with all lowercase text and the other all caps text).

Both somewhat very different, but mixing effortlessly to create a very distinct and unique looking font. I can't put my finger to it as to what style it is.

Cheers

BATAVIER (Pro) — Geometric display sans
═══════════════════════════════════
[ MEMOIR ]
Revision / revival of the geometric lettering seen on a 1916 Dutch litho poster for the Wm H. Müller & Co.'sRotterdam-London passenger service called Batavier-Line(Batavier-Lijn in Dutch) which was originally designed by Bart van der Leck(1876 - 1958).

The Batavier Line existed from 1830-1960, and was the oldest steam shipping line in The Netherlands.

[ UPDATE INTEL ]
A couple of small changes were implemented compared to v/d Leck's original lettering. Most significant is the upscaled Ampersand, but numerous other small cosmetic or optimizing modifications were made as well.

I completed the full alphabet plus numerals and included additional symbols and punctuation marks to make it a fully functional typeface. The lettering is all caps (majescule) only. Some lowercase letter locations harbour a glyph alternate uppercase form as could be seen in the original litho poster source. Another bunch of alternate uppercase forms and underlined “superior” small capital letters were located in the “Halfwidth And Fullwidth Forms” Unicode block. In addition to that it has accented Latin letters for multilingual support. Also two resized alternate forms for the Ampersand and two stylish ligatures have been included.

[ SUMMARY ]
This is actually the second revision I did for the litho lettering by v/d Leck. The first attempt was made using a (faux-) Bézier approach, resulting in a huge grid canvas (168 grid units / bricks tall monstrosity). This made it a lot of hard work to build and for some letters impossible to properly implement kerning since FS values only allows  min. -10 / max. 10  of grid units for kerning.

As part of the endeavor to refurbish some of my older FontStructions STF BATAVIER was one of those that was in serious need of some overhauling as well. The problem it presented was the font's cap-height. It was actually so tall and impractical to work and / or modify, that the first revival attempt never really fully materialized beyond a basic character set.

A full glyph only fitted on screen with the FS-editor zoomed-out max. and my browser zoomed-out at 30%. At this scale not only the canvas grid lines in FS's editor all but dissapeared, but it also resulted in a down-sized brick (or 1 square grid unit) with on-screen rendering at only 3×3 pixels, as oposed to 64×64 pixels with the FS-editor's default zoom settings.

So imagine selecting a tiny 3×3 px speck when working the glyph canvas at brick level to modify glyphs... pretty much impossible. Now, the other situation wasn't a whole lot better. This had the browser's zoom restored back to 100%, making the glyph canvas at brick level “workable” again. But in respect to the cap-height this only renders a very small section of the glyph on-screen. Requiring a huge deal of additional canvas navigation in FS's canvas editor, better known as “Pan the view (H)”, which is done with the hand tool.
And well, as many of you will know, this is an absolute bummer When navigating (or panning) a glyph bottom to top requires 3 full canvas swipes.

So yeah, the only way for an extended version ever to materialize was to be rebuild it from the ground up at a much small scale, using very different measurement ratios compatible with FontStruct's kerning.

[ TECH INTEL ]
This second revision attempt successfully reduced the font's cap-height down to a comfortable 5 bricks (or grid units)  tall and Em-square of 7 bricks total. Some optical compensations were implemented to certain elements such as stroke weight corrections and careful minute differences in vertical positioning of letter mid-section elements.

For now thats all Folks..

Cheers

SEADWELLERS — 1920s Art-Deco Sans style
═══════════════════════════════════
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

A geometric font useful for avenue signs, highway signs, airport signs, etc.

DAN NIET — Futuristic rounded sans
═══════════════════════════════════
This is a recreation of Svetoslav Simov's Dan typeface that was published by Fontfabric back in 2010.

A while ago I came across some image that used this cool futuristic geometric sans. And without first doing proper research I started to FontStruct the lettering seen in the image. Once those were completed I didn't really had a good vision on where to lead the rest of the letter inventions, so I went looking online to find something similar that perhaps could get me inspired to complete it after all.

Scouring the web for a while I stumbled upon some sample images for a typeface called DAN by Svetoslav Simov. And it was unmistakably the font seen in the initial image that I used for the first couple of letters.

Now, I could've abandoned the project at this stage and take my loss, but I felt that the work that already had been done up to this point would be a sad waste of something that was actually kind of fun to make. So for this reason I decided to go ahead and continue the project, and instead this time the focus shifted towards recreating the original DAN typeface.

I included a number of small changed to certain letterforms to suite my personal preference better, but it very much remains Svetoslav's work.

Because the original DAN typeface is a commercial product this recreation won't be made available for downloading. It was strictly made for the fun of it, with no intent to redistribute. It was published solely as a showcase of the FontStruct editor's capabilities.

I dubbed the project DAN NIET which is Dutch forTHEN DON'T.
This sort of as a wordplay to the original's name and it's off-limit legally restricted status, hence the inclusion ofDON'T.

— It still remains a WIP..

═══════════════════════════════════

DISCLAIMER:I hereby state that I do not own the rights to this, and all rights belong to it's original owner. Credits for the original lettering concept go to the creator. No Copyright Infringement Intended.

Cheers

ETC Vieux Canard is whimsical, geometric sans-serif font based on V. Sarela's "Res Cogitans" and Christian Munk's "Insular Typewriter".

Some letters are oddly kerned, but that is due to FontStruct's +/- 10 unit limit on kerning.

a display font i quickly cooked up, enjoy :)

A font that replicates the font of the logo of Counter-Strike: Global Offensive. This took a while, but this all paid off.

VOLLE BUISJES — Geometric sans-serif style
═══════════════════════════════════
[ 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.

Essentially what this meant is that I have decided not to make this part of the “Buisjes”-typeface. I still went on completed it though, but now simply treating it as a new unrelated font instead. The original outlined version still stood testimony 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. Include some optical correction, as well as implementing a slight more polished looking geometry.

That wasn't all (LOL) but yeah I'm done typing for now!

Hope you like it, more info follows..

Cheers

Maltro is a rather cubic and modern font at the same time, it's my first font and it took a lot of time to make, so be indulgent please :)

PERSONAL USE ONLY

BUISJES — Geometric outlined sans-serif design
════════════════════════════════════

[ INTRODUCTION ]

While at first I was just updating one of my custom brick tool sets with some additional new pre-build custom composite bricks which seemlessly fit and allign with the dimensions of FontStruct's default connection brick set, the font more or less materialized as this happy accident while I was fooling around and constructed several basic letterforms and shapes for testing these composite brick solutions I was making.

Before realizing it I had about half-a-alphabet's worth of random letter doodles. From there on out I simply decided to copy the letters that came from this test run and drop them into a new FontStruct project and just resumed building the remainder of what would later become this rather modernist clean looking geometric outline sans.

Now, keep in mind that working with the constraints of these (largely 'Composite'-like) and somewhat oddball physically natured 'Connection'-bricks is very limited, and can be quite tricky. They simply doesn't allow the same level of design freedom FS's 'Core'-bricks do (E.g. the centre allignement, their thickness and that 30-bricks-only limited palette size for each of the three variations). To acquire some of that more distinctive and specific tailor made geometry usually requires clever brick arrangements that consist from a mixture of both multi-stacked-composites and brick overlaps to patch gaps and smoothen curve contours.

This process can sometimes become very 'trial / error' -based and unpredictable when complexity increases. Distracting at times, as it gets in the way of primary objectives. To constantly having to invent different new solutions that work simply doesn't help creative workflow. Therefor I decided to dive a little deeper into expanding my pre-fabricated'ready-to-use' composite brick palette.

[ ANALYTICS ]

So far I'm very pleased with the final result, especially with how easy this new set of custom brick composites turn out to create new letters. The bricks feel very intuitive to work with, and unlock quick access to greater sophistication and shaping of more complex geometry. Opening up several new possibilities that are impossible to construct solely from the default 'Connection' -brick palette. So having them at my disposal in a pre-fab fashion is certainly gonna help streamline the workflow.

[ THE FONT ]

As far as for the font's aesthetica, there isn't all that much spectacular going on really. The basic geometry provides a rigid solid looking lettering that produces this fairly legible text. The modern yet clean characteristics making it the perfect match for a broad range application.

 • Multi-Lingual (105 languages supported)
 • Some glyph alternate forms
 • Kerning (1922 stored pairs)

The font name refers to its tubular characteristics and comes from the Dutch word Buizen, which literally translate to Tubes in English.

I hope you like it,

Cheers

FRUNTSTOCT — FontStruct logotype reinterpretation
═══════════════════════════════════
For all ya failed attempts at re-creating the FontStruct logo typeface.

Many have tried their take on it, most without convincing succes, and often looking downright horrible.
Two of the most commonly made mistakes are..  1) The introduction of a uppercase alphabet  2) Having a tendency for including far too many stuff in terms of extended language and typographic support, aiming for large multi-lingual character-sets with as many glyphs possible.

The lettering for the FS-logotype has this very distinctive modular geometric stencil concept. The underlying glyph structure consists of 5 horizontal rectangular segments, that together with a custom set of simple geometric blocks form a modular system that can be easily re-modeled or re-arranged to form the different letters and required parts that help to distinguish each individual letter from one another.
The modular system itself is highly simplified and easily accessible to implement additional changes. But typically speaking a simplified modular system comes at a price. And the further a system was simplified, the greater the amount of limitations will be. Which literally translates to a reduction in overall design depth and freedom to implement a more diverse complexity.

—TECHNICAL SPECS:
[Dimensions]               Segments
X-Height             —     3
Cap-Height         —     4
Ascender             —     1
Descender           —     1

[Filters]                            Value
Horizontal Brick Size    —    2
Vertical Brick Size         —    1.8
Horizontal Grid Scale    —    0.9
Vertical Grid Scale         —    1

In case of this FS-logotype concept, there are a number of key components that put in place this very strict window of parameter-locked propperties, that exclude all but a few remaining options which could still be exploited, and therefor fully dictate whatever is, or is not possible.
Having only 5 segments, limited geometric components and highly restrictive rearrangeable capabilities towards implementing variation all adding up to the difficulty-level for extrapolating some of its more complex and- / or denser forms, symbols accents and puntuation marks.

To cramp excessive amounts of complexity into a very narrow band of realestate would have a certain negative wear on its aesthetic qualities. And is likely to result in a combination of messy glyph composites and queer-looking letter-inventions, contrapped in a mish-mash of irregular and gawky looking, at times even disfiguring geometry that sit at the heart of this problem.

This is exactly where those bad choices can either make or break your font. The modular system for FS's lettering clearly isn't the most suitable of fonts for uppercase forms and complex geometry.

This doesn't mean that it is impossible, as was demonstrated by a small number of re-interpretations that actually do include fairly decent uppercase inventions. One of such that have successfully pulled off the inclusion of a uppercase set for his rework of the logo typeface was Zhalgas Kassymkulov—previously known as architaraz.

His attempt is a beautiful display of craftmanship and clever simplicity.

Here is a list of attempts that I think are successful re-interpretations of the original FontStruct logo:

Structurosa Italic — by four
AT Archistruct Outline — by kassymkulov
Structurosa— by pauldhunt
FS Logotype — by WeDoFonts
pixelstructia — by gamesgames
fs Colophon — by user-juli
fs sanstruct — by ETHproductions
Realised — by thezenmaster1000
Structurosa Bold — by pauldhunt
FontStrukt 2 Soft — by Jamie Place (FontBlast)
Structurosa Bold Too — by pauldhunt
 

— WHUTZINSIDE THIS FRUNTSTOCTION?
Now, a extensive explanation for the decision to not include uppercase forms to the font, as well as for the constraint on total character amount had been broadly covered above. I think that small caps numeral figures make a much more sleek looking glyph, and tying the overall character set much more together as a whole.

Another, and I say, rather more unique feature found in my version of the lettering is only a subtle one in fact. One that mostly works invisibly, that without the awareness of the reader, is easily missed. And can only truly visually materialize and appreciated seen up close. This is the implementation of several slight deviations and custom sculpting of certain curvatures and round features. Introducing an ever so slightly more diverse dynamic, but also taps deeper into some of that shape contrast propperties.

In addition to that I've also included several glyph alternative forms and small number of ligatures to play around with.
among these glyph alternates there is also this continuous string of 13 rather experimental looking glyph variations for the lowercase letter 's'.
These aren't actually meant to be usable characters, but instead is a collage of different configurations that make various curved geometry, and are simply stored in a glyph-style fashion that provides an actual physical estimation on their appearence and for me to test their functional values in a text format.

So far so good,
I am happy with how the font turned out to be, it is fairly consistent looking and still remains quite usable as a font.

That's all for now folks...

Cheers.

Just a really blocky font inspired by the many abstractivist typefaces of the 1970s. I based it off of a logo I made once, and it definitely isn't perfect (like seriously, as much as I try, I just can't get the darn Y to look like anything remotely recognizable!)

EDIT: for some reason it doesn’t look very good zoomed out, so I would highly recommend zooming in before making up your mind about it.

Display type inspired by halftone printing dots. Works better at larger sizes.

everybody looks like a triangle

Download this font in "Mac" only

Unicofonte -- sans-serif, Unicode-based, 1x1 & Real Curves typeface designed by marcot_0425 (the main font designer), not_cake (my partner), and STF (faux bezier curves) 

Wed 25 Oct at around 7 pm: Added 48 new characters in Arabic Supp. and fixed 2 characters in Arabic

Thu 26 Oct 16:49:18: Added 62 assigned chars in N'Ko (RTL)

Thu 26 Oct 21:46:51: Added 32 assigned chars in Buhid (LTR)

28 Oct 11:44:12 : Added some misc symbols & some chars in legacy computing

Latin ext f & Cyrillic ext d finished yesterday

7 glyphs until 9000!

30/10/2023: added more weights to make a variable font

2 Nov: added Arabic extended a

800 Glyphs Left

it’s not a pixel font but it could type A LOOOOT of characters

22112023: Added 1 New Character in Hebrew

JS-SANS ROUNDED ― Geometric Sans-Serif
═══════════════════════════════════
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 revision based on a alphabet system Schrofer originally created somewhere during the late 1960s.

Its a simple, yet solid and clean looking geometric sans-serif style with medium contrast on its vertical axis. The alphabet as it originally was created by Schrofer featured a Lowercase (A-Z) character set with Small Caps figures (numerals) only, no symbols or punctuation marks were included.

This particular lettering was used in many of his work, such as book designs, brochure and post-stamps, so there is no shortage of resource material on the internet for this alphabet system. Over the course of its existence it was constantly evolving, and Schrofer kept expanding the alphabet 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 workhorse letterings, and saw widespread application, with appearances dating back as early as 1968, when Schrofer developed the designs for the 1969 Dutch post-stamp.

I've already done a revival for this alphabet back in 2018. This was during my first year of joining FontStruct, so therefore the first revival attempt now seems more like an insult to Schrofer's brilliance rahter than a tribute.

Pointing out some of the flaws present in the old recap:

Certain key design characteristics weren't extrapolated properly throughout all of the required letters or were missing completely (imo. this is one aspect of a font revival the designer at least has to do right). Its Uppercase forms looked as if they did actually belong to another font all together, back then no additional Lining figures were included that would suit the newly added Uppercase letters, and only a handful of very poorly crafted symbols and punctuation marks was included. As a matter of fact, it was only just the second Schrofer work I ever digitalized. So yeah...

— Now five years later the time had arrived for the rematch.

And this time I wasn't going to enter the tekken as the new farmhand or a lazy dog. But came well prepared to battle that grumpy wizard as a quick brown fox. Five boxing muscles flexed and sufficient toxic brews at hand, but above all.. A postgraduate academic with a Master's degree in "DIY FontStructivism" at the university of Home. So there weren't many very exquisite codfish eggs to judge my fizzy vow. Jack proved strong, but picking only six quinces, unable to quickly fax Judge Pat, he eventually been left a puzzled women, and so I jumped jewels when I was crowned the Sphinx's evil Queen Fredericka.

— I think that is summarizing it all very neatly.

But, just in (lower), case, here is a "Give me Gum-Gum-" explanation for all you rocket scientists among us:

For this revision I only used Schrofer's original red / white alphabet sample composition. Sticking with just one resource made sure I kept a non-biased vision for extrapolating the remainder of the character set. This simply because shear amount of variations that Schrofer had contributed to this alphabet system would make it difficult to consistently combine everything into one complete work.

I reproduced and included all Schrofer's lowercase characters and numerals as were shown in his original composition. From that point out I designed the rest of the font myself as faithful I possibly could. Yet in the end two major change were made to my recap in relation to Schrofer's original that aren't typically very desirable in a revival and therefore not recommend when strictly aiming at reviving a original work, but in the case of this Schrofer alphabet in terms of how it was provided by himself it was rather wisdom than that it was madness.

Let me explain what changes were made and what effect they have in terms of to what extend it deviates away from technically speaking still classifying as a revival. First of all, his original Lowercase letter f is very interruptive in a line of text. Up to a point that is really taking a toll on its overall aesthetics. So I modified the original ever so slighty, basically all I did was decreasing the length of the horizontal crossbar a tad bit so that it would allow additional kerning for the character to eliminate the issue it innitially created. I relocated Schrofers original form into the Full Width Unicode block as alternative form.

The other major change was essentially the complete redesign of numerals forms. I replaced Schrofer's original Small Caps figures with a new set of newly designed Lining figures to be the font's default figures, making the default text figures a far better match for the newly introduced Uppercase alphabet letters. Schrofers Small Caps forms are still in there, but now relocated to the Full Width Unicode block as glyph alternative forms as well.

Both of which affect the font's innitial physical appearance, but thanks to some rearranging of segments within the character set neither will have effect on the reviving part of the project, since all of Schrofer's original letterforms are still included and available for use. But this was done to bring a certain level of harmony and logic to the piece from a typeface-standard perspective. So technically this would classify SANS ROUNDED as revision and not a revival. Which to the broader sense is correct. But it also still technically could be used to function as a revival. So perhaps it could be both at the same time?

Than in addition to that I also provided a small number of glyph alternative forms that are located in both the Full Width and Private Use Area 1 Unicode blocks.

Extra alternative glyph forms are:
 ⮻  ａｃｅｆｇｊｒｓｔＶｖｙｚ
 ⮻  4× experimental lowercase letter 'g' alternate forms
 ⮻  small latin letter 'Eth'

I hope you like it,

Interrested in more of my Jurriaan Schrofer inspired? Please take a look a my complete collection of Fontstructions tagged with STF-LETTERS OP MAATfor the full catalog of fonts I contributed to this project so far.

Cheers

VAN NELLE (Blueprint) — Geometric modernist sans
═══════════════════════════════════

☛ THE SOURCE
A re-interpretation of the 1926 geometric sans serif alphabet system reproduction by Jacob Jongert, published in a 1930 sourcebook by N.J. van de Vecht. The geometric uppercase set of the alphabet system is what would later become the famous sans serif capitals which he used for lettering throughout many of his Van Nelle materials.

☛ THE FONTSTRUCTION
Attempt at making a convincing recap of the original alphabet by Jacob Jongert as it was shown in the 1930s sourcebook, and extrapolate that into a full functional font. The decision to go with a small grid sparked a number of limitations in terms of the design freedom that forced some inevitable changes. But the general idea sort of became not to make it a revival, but rather more or less a faithful revision. One that would still be instantly recognizable yet didn't necessarily had to be all about accuracy.

☛ —The small grid design made sure this wasn't happening anyway!

But, for instance, the most striking difference between the two fonts (their weight) in fact is such a byproduct for one of those limitations. Something FS's small grid couldn't properly reproduce, so VAN NELLE (Blueprint) has a slight stronger weight, making the font somewhat of a bold style version of the original. This in addition provided me with slight extra freedom to inplement a little personal touch for further manicure of the font's finer details. Which allowed me to cope with some of the optical clunkiness that come with a fatter face and the grid based design.

Besides these circumstantial differences, which were basically beyond my control, I've also made some intentional changes to make the typeface more practical to use. The changes include things like the significantly lowered ascender height, the slight different width for certain letters, larger tittle (dot above i, j & ij), and several more. despite these changes I believe it very much still reflects what Jongerts once invisioned for the system.

☛ SOME NOTES ON THE ORIGINAL AND ITS CREATOR
Jacob Jongert(1883-1942) was a advertising designer from the Netherlands. After varied studies, including being Roland Holst’s assistant and an acquaintance and colleague of S. H. de Roos [who brought the Arts & Crafts ideas of William Morris to the Netherlands and devoted his career to book design and typography] with whom Jongert experimented with several printing techniques and discovered graphic design as his ideal art form.
¶ In 1923 Jongert rolled in a unique and long-term collaboration with the Van Nelle company, where he became head designer, a position he held until 1940. The Van Nelle company had an extremely modern approach towards advertising (they even commissioned Cassandre to do a poster) and Jongert created for the firm a recognizable image with clear shapes, powerful letters and primary colours, totally Dutch avant-garde in style, and with a strict and rigorous approach directly linked to De Stijl principles. The corporate identity he created has become a milestone in the design world.
¶ The lettering, however, is the driving force that ties it all together. The style is a straightforward set of plain, mono-linear, sans serif capitals in a style that just started to come into fashion in the late 1920s, early 1930s with the rise of functionalism and geometric type design. Yet, while these ideas were already thrown out there, its clever simplicity plus the systematic and cohesive way Jongert implemented his lettering was unusual at the time. The square and minimal construction of the forms allowed the letters to contract and expand to fit any situation, yet maintain a consistent and recognizable appearance throughout the Van Nelle line. ¶ Something we only recently have learned to appreciate is to see his hand crafted system amid the current advancements in variable-font technology, which offers a similar kind of flexibility to typeface designs. A quality that certainly placed him well ahead of its time.

What I particulary like about Jongert's original is the stuff that is going on in the lowercase set of the alphabet, which are those quirky lowercase letter inventions that are different from the more traditional modernist sans, but sadly the lowercase letters were pretty much never used in his works.

I created a simple PDF typeface specimen for those who want to see the high-resolution preview.

PDF SPECIMEN WAS DELETED

​​Thats all Folks ☚

☛ Cheers

Śmieć (transcribed as Sjmiecj when using only the characters available in the font) is a font designed to be easily readable, both up close and from far away. The name of the font means "a small piece of trash" in Polish because I will be using it on my new trashcan stickers. This font is meant to be 3D printed as individual letters, so you can reüse punctuation as diacritics when assembling words from these letters.

When to Use Upper/Lower Cases

The font is meant to have an effect when the vowels are just taller lowercases. Start words from a capital letter, so that the sentence "This is a garbage truck" becomes "This Is A Garbage Truck". This is important when a word begins in a vowel. When a vowel letter (or a Y) acts as a consonant, use uppercase, so that the sentence "The royal queenie girl is practicing ventriloquism" becomes "The RoYal QUeenie Girl Is Practicing VentriloqUism". Silent vowel letters that separate two letters from influencing each other's pronunciations are upper cased, like the Spanish name "Miguel" becomes MigUel because the U separates the G from the E so that it's not "Mikhel". On the other hand, silent vowel letters of a different purpose stay lowercase, so that the English word "cane" is simply "Cane". Digraphs containing both vowels and consonants, like the "ti" digraph in "nation" and the "ar" digraph in "cart", use uppercase vowel letters when the digraph makes a consonant sound, but use lowercase vowel letters when the digraph makes a vowel sound: "NatIon", but "Cart".

 The free and open source alternative font to Bauhaus and the rare Burko

The display font alternative to the rare Burko.

Supports Afrikaans, Albanian, Catalan, Standard Cyrillic, Danish, English, Estonian, Finnish, French, German, Greek (with Coptic chars.), Icelandic, Italian, Norwegian, Portuguese, Romanian, Spanish, Swedish, Turkish and Zulu. More languages coming soon!

Version 1.5. Added Romanian and Turkish languages and the OE ligature.

Older ones:

v. 1.4 - Completed the Greek language, including Coptic.

v. 1.3 - Added Most Greek Characters.

v. 1.2 - Added Standard Cyrillic Characters.

v. 1.1 - Added 16 languages, ligatures, kernings and more symbols.

v. 1.0 - Initial Release