GROOTESK ― Contemporary geometric grotesque

A contemporary geometric grotesque with tons of extra features such as glyph alternatives and ligatures

It comes as a bold weight typeface, in only one style, but there went some serious time in optimization and additional testing. Therefor the font is super well mastered and extremely versatile.

Its far from just another display design, or your next average basic geometric sans. From a distance this indeed appears basic, but also a very clear and legible letter.

Getting a more close-up view of many glyph would actually reveal a very complex in both form and function. Tons of custom shaping, smoothening, transitions, rounds, and just overall care for detail that went into every bit.

There is no question whether this could hand out "a 'one-punch' K.O." of a Headliner, thats obvious.

But this unyielding bumpy behemoth just as well takes u for the long run, effortlessly telling you fascinating stories.

It was especially well cared for and optimized to do so on a computer display device, to deliver simple yet versatile seemless digital typeset material.

See the provided sample images bellow for more detailed info on its various features.

I hope you like it so far!

An original pixel font, inspired by the logo/signage of an eponymous fancy bar at Deansgate Locks, Manchester, that's now long gone.

A Bauhaus/Deco inspired sans with a dash of VJ Type

INNERCITY — Geometric future retro display grotesque
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Geometric unicase display sans with a stylistic filled counter-like (Uc) set and monolinear 'bare-boned' geometric grotesque (Lc) set.

— Full alphanumeric dual-variant font !!
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Elmoyenique's "zenzura" (a very stylish work in it's own right, make sure to check that one as well) anyway,
His 'zenzura' font kind of struck me with a healthy fresh dose of motivation. In the past I've explored somewhat similar style designs, but none of those ever really got consolidated into the extensive and complete work Elmo delivered with his stunning zenzura.
So I decided to dig up one of my older such projects and see if this new motivational boost could turn 'half'-a-font into a complete piece.

Long story short, this update is the result of that venture.
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Where previously this project came in just one style (filled counters), with no additional glyph alternates. Basically a complete absense of the lowercase-string all together, and only very limited complementary set of symbols and punctuation marks were present. Neither did the previous version had a great deal of refinement in terms of metrics / kerning and overall horizontal distribution of type-set material.  So, it was nothing more than a plain doodle of the idea I had back then, that had to be preserved for a later stage.  
But being drawn into more recent projects at the time I eventually ren dry on motivation to fully finalize this I ended up publishing it in its rough state.
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ABOUT THE UPDATE:

The'bare-boned' lowercase is a somewhat futuristic geometric looking form, whereas the filled uppercase set has a strong retro vibe.  

Combined in 'mixed-case' it can make a cool optional decorative style capitalization for your text. Used in isolation the two styles (Uc, Lc) both could be used as two seporate fonts, allowing stylistic text hierarchy.

In addition to the stylish retro-like, and partially filled forms I included a glyph-alternative set that strips the letterforms down to their monolinear core-geometric essence.
The design of this set is characterized by the spacious, sharp and clear appearance, that looks slightly futuristic but fashionable still.

With this new addition being the more legible and clean form of the two style sets, I placed this variation into the lowercase-string, making this the default-style for the font.
For the numerals, symbols and punctuations, I tried to remain committed to the stylish filled nature of the uppercase set.

A full alternative monolinear and 'bare-boned' numeral counterpart is located in the 'Full Width' Unicode block. Two extra weight variations for the brackets are also included for a more precise personal preference..

— And so it finally could respectably considered being a full font after all.

Thats all folks.. Enjoy !

cheers

MAUHAUS  ―  Feline inspired type design

[ THE CREATIVE PROCESS ] ━━━━━━━━━━━━━━━

This font was made because I have a cat. I love my cat, and this delight of a friend obviously loves me back. In addition to all this love, I also love to craft fonts, my cat is not to very fond about this.. So she loves to craft all sort of drama to gain my attention. Wearing me down with her mere persistence. I'm not to very fond about this.. So I slab her in the tiny face and modulate the crap out of her, stressing that nifty lil' stalker-happy pleb untill she gets a stroke. Than I make gashing incisions to all her intersects, making a pet-stencil.

No cats were harmed while making this font, this is just how we roll.

And one might wonder what a apple is doing inside a cat-font?? I know, but dont worry, the cat isn't a vegi...

― Lena say's 'Mauwww..' to all fellow FontStructors

[ FINAL WORDS ] ━━━━━━━━━━━━━━━━━━━

I guess that didn't clarify the ins and outs of this design, thats too bad !!

All I can say is that this is once again another concept following in the footsteps of the 'Bauhaus'-minimalism style and philosophy. Since I was not done yet with this whole raging Bauhaus frenzy..

― Lena hopes that nobody likes this font so far...

Meow

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

With the given theme of Protection, I looked into the human immune system and the biological human features. Researching further into antibodies, I created a type face of the antibody structure which resembles the shape of a capital Y. Following symmetrical shapes and doubled lines, I created an alphabet that mimics the original structure of antibodies, with similar joints and angles. 

The initial inspiration for this font is the result of having seen the masthead logo of Singapore University of Design and Technology (SUDT).

EPOCH - Modern light-weight geometric display sans

───── 「 MEASURES 」
(in grid units)
X-Height:                       １
Cap-Height:                   ２
Descent:                         １
Optical  Corrections:       None
Stroke:                            １／８ ｔｈ
   
 4－Ｅｍ ／ ０.１２５ : １－Ｓｔｒｏｋｅ （０.１２５ ≍ １／８ ｔｈ）

― No filters used.

───── 「 SUMMARY 」
This is yet another deep dive into the very small and tiny quantum realm of FontStruct's small grid and light-weight stokes.
Unlike some of my previous endeavours into this dark corner of the FS-editor, which could have dizzying complexity in forms, this project for once didn't stress the sh....*t out of me by stretching the limits for my capabilities beyond what is still comfortable this time. Nor did it drain every last frigging bit of my knowledge or clever creative insight to pull it off.

On the contrary,
For once it remained largely a pretty straight forward and easy project in terms of forms and geometry. The absence for most of the 'bar-raising' features such as diagonal forms, rounded, transitions or stroke modulation made this 'FontStruction' that much more easy.

And when metaphorically breaking it down to the bare naked form and necessities, this design mainly consist of FS's (default)-brick set, resized modifications of those, combined with a set of stacked composites.

There a still a number of things I'd rather seen differently, and will see later attempts at making improvement, but taken in a broad perspective most of the included material so far look pretty fine to me already. And to point out one of the things that is still bugging actually are the 'accented' letters.
Some glyphs have odd values for their 'character'-width, and this makes it impossible to achieve 'grid to em-square'-bounding box allignement in FS's editor. So accents in these asymmetrical values look slightly ofset.

― "Changing character widths to nearest even value is simply far too destructive to the stylish characteristics of the fonts appearance"

───── 「 ABOUT  THE FONT 」
In the end it became a pretty cool looking light-weight geometric modernist sans-serif style that at the same time has strong hints of Art-Deco-style lettering as well.

And apart from the minor things it fell short with, I think there is a lot about its overall character-set design and forms that is looking pretty darn rad actually if you ask me.

Content-wise the font is a single case design in a 'all-caps' or Majuscule style. The (Lc)-string was kept empty for deliberately for the technical reason of preserving all the (default)-blank metrics data for any further design updates.

───── 「 WHATS INSIDE 」

A little bit of everything...
 
■ Body text formatting:
    □ Basic-Latin based character set with accented letters & numerals
    □ Most punctuation marks
    □ Numerous symbols

■ Decorative formatting
    □ Pictorial attributes
    □ Repeating patterns

───── 「 THE END 」

Let me know what you think so far,

Cheers

OP-TWIZT - Twisted optical illusion inspired style

The characters represent twisted 3D objects with impossible geometry.

Heavily influenced by monogram logo design.

This should have been a minimum font, but minimum can't do color.

The idea was to simulate transparency. After trying out multiple color hatch patterns, it was apparent that it is not going to work. The earlier attempts are left in the font for you to judge yourself their efficacy.

The file is pretty heavy because of having so many anchor points (times 8 layers). Scrolling will be slow. Because the next letter overlapping the previous hides part of the black outline, just outline glyphs are there to stack two layers (colored below, outline above) to get the correct effect.

Is there some trick to make the downloaded font to work in color? The version I downloaded comes as *-svg.ttf. Aren't the color svg fonts in .otf format? Thus, no sample.

STF_ELEGANZA (Therapy) - Contemporary geometric humanist sans
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A font style, that while simplified by old tradition, saw new light by modern sophistication.

It comes in a solid medium weight that is very suitable for body style text with good readability, But it does perfect clear headlines or advertisement as well.

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The goal was to make a clean but somewhat more contemporary and playful take on a 'Grotesque' sans-style.

In an attempt to break away from the traditional trend of Grotesque type designs which evolved more around pure geometric shapes and aim for perfect circular, triangular or square shaped letterforms, and in return give many of them a somewhat harsch and featureless mechanical appearance. I choose to achieve the opposite, aiming for a softer, friendlier and more humanized feeling instead.

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Dimensions: (in grid units)
X-Height:              1 .625
Cap-Height:          1 .875
Type Size:              2 .375
Em:                        3 .5

Brick Size filter:     2 : 2

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This is the 'Therapy'-style in the 'ELEGANZA' typeface family. This version basically aims for the exact opposite effect than what the Tight' version did. The name 'Therapy' relates to its 'opened-up' appearence and the overall de-stressed propperties of this version. The more relaxed and spacious distribution remotely resembles the characteristic feel of a typewriter face. But the main purpose for this version is to create visual hierarchy in your layout.

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The other style vatiation can be found here ELEGANZA (Tight)

I hope you like it...

Description:

Perfectly monospaced 5x7 font.
Note: Some characters are exceeding 5x7 size, though font boundaries is the same and the font itself is monospaced.
Note 2: Some characters are double or triple of horizontal size of a letter, e.g. 11x7 (occupies exactly 2 characters), 17x7 (occupies exactly 3 characters) etc. Been thinking about creating the same font but fully 5x7.

Includes:

* Basic Latin
* More Latin
* Extended Latin
* Even More Latin
* Greek and Coptic
* Coptic
* Cyrillic
* Arabic
* Devangari
* Hebrew
* Katakana
* Thai
* Georgian
* Armenian
* Bopomofo
* Hiragana
* NKo
* Tifinagh
* General Punctuation
* Superscripts and Subscripts
* Currency Symbols
* Letterlike Symbols
* Box Drawing
* Block Elements
* Arrows
* Geometric Shapes
* Phonetic Extensions
* Number Forms
* Mathematical Operators
* Control Pictures
* Enclosed Alphanumerics
* Dingbats
* Brailie Patterns
* Progress bar similar to Fira Code

And more!

Changelog:

1.1.0 (4379 chars)
Added:
* Coptic letters (different from Greek and Coptic)
* Tifinagh

1.0.1 (4197 chars)
Changed:
* Fixed Block Elements grid

1.0.0 (4197 chars)
First release of this font

Fun Fact: idkwimd2 stands for I Don't Know What I'm Doing. The number 2 is in the name because this is the second version of this font (the first one is abandoned).

Feel free to post issues, ideas and questions in the comments!

P.S. On Windows this font will be corrupted and would not install. This problem also occures in some other fonts with many characters in them.
You still can use this font as a file for some programs.

a first attempt at arabic

back here just to ask if this thing already existed btw hi everyone 

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!

STF_THUNDERDOME - A tall thin stroked Art Deco typeface.

I tried to create pretty simple, elegant but somewhat wonky geometric letterforms.

Inspired by the later 70's Art Deco Streamline period.

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This remains a WIP, many of the glyphs in the Extended-Latin set aren't reflecting their Basic-Latin counter-parts. The character set remains far from complete for now, and many changes need to be made still.

Kerning done only for a few pairs and overall balance therefor is still quite poor I guess.

Some 'more' detailed but derailed towards the end 'in-depth' recap of this font could be found bellow in the comment section.

Stay tuned for more,

Peace!

BENGALIQUE - 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

OBLONGUS - Modern light weight monolinear geometric sans
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■  Description:
Light weight monolinear geometric sans.

■  Design summary:
One of the most striking features is it's overall well ventilated, light weight and spacious appearence. Some other key features are the glyph's elongated ascenders and descenders. These give the font a somewhat condensed and stretched look. An additional side effect of this is the extra empty vertical space above and bellow a line of text. Contributing even some more to the already ventilated character of the design.
Another key feature are the stylish rounded forms and novel long spurs. I tried to find elegance in it's simplicity, the decorative elements, turns and twists were all done in a very gentle but clearly present manner. All working together these elements give the font a very welcoming, friendly and laid-back vibe. Extra's, such as glyph alternatives will help spicing things up even a bit more.
So, while trying to remain simplistic in nature the font does have some nice stylistic appeal for sure.

■  Tech specs: (measured in square grid units)
Glyphs dimensions:         16 × 8
Weight:                              0.125 (1/8th)
Brick size filter:                 2 ꞉ 2

■  Font features:
 ▪ Basic-Latin, punctuation & symbols
 ▪ Lining & non-lining (oldstyle) numerals
 ▪ Glyph alternatives
 ▪ Partial kerning

■  Update history:
 ▪ [06-24-2022]
     Basic font created
 ▪ [06-24-2022]
     Changed lowecase 'w' with a wider version
 ▪ [06-24-2022]
     Made cursive style lowercase 's' & 'tailed z' glyphs as default style
 ▪ [06-24-2022]
     Partial kerning applied
 ▪ [07-24-2022]
     Added multiple sets of numerals styles
         - Lining (default style)
         - Non-Lining (Oldstyle)
         - Double Struck
           (Slight different, extra decorative, more leaning towards classic style)
 ▪ [07-24-2022]
     Included random stylistic glyph alternates, special characters & ligatures

 - Additional extra characters will follow next update

I hope you like it so far

ARC - Modern geometric sans

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Refurbished version of a old Fontstruction.

The idea was to keep it clean and simple.

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1/8th stroke weight

Enjoy!

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)
         • em-square:                 11 × 4.5
         • 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, and completed only 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 published. 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 bring 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

Monospace, single-case display font based on simple geometric rules. Starting with a square, alphanumeric characters are created only by rounding corners, adding a center hole, or adding vertical or horizontal slots, with few exceptions.

Expanded from a logotype designed for a portfolio piece- interesting for titles, headings, and other decorative use but too stylized to be legible in larger blocks (try it out though!)

Alternate glyphs are included in the "uppercase" set.

dice based cypher made from 2d6 sets for each letter~

the key is attached as the sample; the letters shown there correspond to the letters typed out in lowercase as default. As upper case the colors of the dice are flipped but the order of the numbers is the same for each letter.

Сaps more Rock, lovercase more futuristic. Lc letters O and Q connect with other letters, uc O Q is slightly larger and does not.

See more:

https://fontstruct.com/fontstructions/show/628973/sorrier_statements

https://fontstruct.com/fontstructions/show/1694938/cryostasis-vempire-1

https://fontstruct.com/fontstructions/show/1702409/voron-2

https://fontstruct.com/fontstructions/show/1922854/moroz-4

https://fontstruct.com/fontstructions/show/480702/en_zelo

https://fontstruct.com/fontstructions/show/178543/bevelicious

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.