Searching for more “Geometric” fonts?
Buy and download “Geometric” fonts at MyFonts.
STF ELEGANZA (Tall) ― Contemporary geometric humanist sans
══════════════════════════════════
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 clean headlines or ads as well.
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
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, that in return give many of them a somewhat harsch and featureless mechanical appearance, I choose to try and achieve the opposite, aiming for a softer, friendlier and more humanized feeling instead.
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
Dimensions: (in grid units)
X-Height: 2 .625
Cap-Height: 3 .125
Em: 3 .5
Brick Size filter: 2 : 2
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
This is the 'Tall'-style in the 'ELEGANZA'typeface family. This version somewhat strays away from the other two variation instances. Whereas the other versions had a simplified look, this version aims for the oposite and has a much more rich and diverse typographic design. Countless subtle extra little details have been incorporated into the design. The tall and condensed style provides a luxurity look. The main purpose for this version was to provide another level of visual depth and flair into your layout.
Some of the main differences made in this 'Tall'-style are the more complex geometry, other X-Height to Cap-Height ratio, extra characters and the introduction of optical compensations.
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
The other style variations can be found here:
ELEGANZA (Tight)
ELEGANZA (Therapy)
I hope you like it...
This is a clone of STF_ELEGANZA (Tight)This font is inspired by the hourglass shape and the feel of heavy and stable, which gives it a funky and geometric look. While being bold, it also has high contrast due to the hourglass shape in many of the charachters. This font works best as a display typeface.
DIDUDE (Regular) ― Contemporary Neo-classical "Didone" style serif
══════════════════════════════════
The idea revolved around the basic concept for 'Didone'-style typefaces.
A genre characterized by modern unornamented standard letterforms, which was very popular for general-purpose printing during the 19th century. DIDUDE is by no means an attempt to embarge on a quest trying to deliver a conceptual overhaul of this genre. Its main goal was to achieve greater simplicity, without sacrificing that traditional neo-classical personality. Instead of leaning towards the typically more 'Humanist'-influenced style with distinct stroke modulations and proportional forms, geometry and symmetry were introduced to design this more simplified take on the traditional historical style. It has been crafted with a structural logic of its own.
"Less human, more geometry.."A fusion of geometry and neo-classical elements that blends the past with the present.
━━━━━━━━━━━━━━━━━━━━━━━━━━
Main distinctive features for DIDUDE (Regular) are:
Unbracketed serifs, vertical orientation of weight axes with a strong contrast between thick and thin strokes, slightly squarish-shaped round characters and its emphasized business-like nature. So the majority of important characteristics that distinguish the neo-classical style have been incorporated.
Certain features that were implemented into DIDUDE's design are somewhat setting it apart from most other, more traditional typefaces in this genre, and most notable is the more relaxed contrast ratio that was choosen for this particular project.
Further personalizing touches were made to stroke endings and curve geometry, providing slight 'calligraphy'-inspired decorative variation with occasional spurs, breaks, curved finials and plain monolinear terminals.
Topping it all off with an ever so gentle height deviation that sparks a subtle rhythm to any line of text. Last but not least, most of the optical clunkiness was addressed and either corrected or compensated.
There is a large character set that includes a little bit of everything:
Basic latin character set, latin-1 supplement set, stylistic ligatures and glyph alternatives, punctuation marks, lining and non-lining text figures, roman numerals, (Partial) Greek and Cyrillic, also numerous non-lingual technical, mathematical and decorative stuff was included.
Only partially kerning for now and this remains a WIP.
Nonetheless, I hope y'all like it so far..
━━━━━━━━━━━━━━━━━━━━━━━━━━
Here is a link to the other font style in this typeface family:
STF DIDUDE (Condensed)
Cheers
This is a clone of STF_DIDUDE_(Condensed)STF GROOTESK Pro ― Contemporary geometric grotesque
═════════════════════════
A clean and geometric grotesque sans-serif typeface that is equipped with tons of extended professional editorial typographic features,
such as:
Multilingual support in 3 script writing systems for 113 languages, glyph alternative forms, stylistic ligatures, accents and punctuation marks, symbols, technical, ordinal, pictographs, additional dingbats.
15164 stored kerning-pair and many other professional features!
━━━━━━━━━━━━━━━━━━━━━━
[ TECHNICAL ]
■ Metrics(in square grid units)
5.0-Em / 0.5-Stroke
2.0 : 2.0-Brick Size Filter
Em-Square: 5.0
Cap-Height: 3.25
X-Height: 2.0
Ascent: 0.875
Descent: 1.0
Overshoots: 2 × 0.0625 Top/Bottom - (uppercase only)
━━━━━━━━━━━━━━━━━━━━━━
■ [ ADDITIONAL EXTRA IMPORTANT RELEASE NOTES ]
Previously published as a (non-Pro)-version with the same name.
But when that version eventually corrupted, it rendered it useless.
And after several repair attempts the innitial isolated "FS-editor" native
brick corruption eventually was fixed! But from this point onward all theFontStruct-generated-*.TTF-files downloaded from this particular FontStruction delivered a broken TrueType-font file, that upon its installation process resulted in having a error. Leaving me, or anyone for that matter who had downloaded it, unable to get it or its updates installed.
So after unsuccesfull struggling for a while I noticed that the cloned version didn't generate a broken *.TTF-file. So I decided to terminated the original FontStruction and delete it.
━━━━━━━━━━━━━━━━━━━━━━
■ [ DESIGN INFORMATION ]
The main inspiration came from those early to mid-20th century geometric grotesques, and visual environment of that era.
Although the characters were mostly geometrically constructed, and remain as close as possible to basic geometry, "STF GROOTESK Pro" includes a blend of stylish hints of hand-crafted lettering influences and intentional irregularities in order to tribute those classical geometric designs.
For extra additional emphasis the design tries to take advantage of a rather unusual vertical Uc>Lc proportion, with ascender parts of the 'Lc' characters sitting well bellow the cap-height, making the 'Uc' appear strikingly taller in comparison. Essentially providing the uppercase with a more "Condensed" feel. Some of the other characteristics of the design are it's sturdy and stylish yet clean presence, with little to no contrast, and it comes in bold style only. But to compensate for the lack of extra weight versions there was some serious time invested into additional testing and optimizing the entire typeface. So it is super well mastered and therefor extremely versatile.
That being said..
Looks can be deceptive at quick first glance, and this indeed might appear as being a very basic looking design. Even though this in fact is far from being just that other basic looking display sans, nor your next boring geometric grotesque!
From a FontStructor-perspective point-of-view I recommend to take a more ‘close-up’ view of the design's finer details. This creates a better understanding and greater appreciation for the extreme level of complexity that is present in both form and function.
Zooming-in on some of the letters would reveal the font's subtle, yet nuanced diversity of that 'previously' hidden underlying personal characteristics that usually remain invisible in text format at smaller point size. Now suddenly just its overall care for finer detail and overall quality within every bit of the design, the tons of custom shaping, stroke transitions and additional smoothing will gradually emerge as zoom levels get ever deeper. At its deepest level it will even shed some light on the surgical stuff that mostly works invisibly and without the awareness of its reader.
A display typeface at it's core, still it performs equally great in very small body-print text or web design application, as it does too in larger format for headings, ads or branding.
Thus providing, this very function efficient and reliable work-horse,
a truly genuine "one style fits all" typeface powerhouse.
And there its 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.
Especially well cared for optimized rendering on a computer display device, and deliver simple yet versatile seemless digital typeset material.
━━━━━━━━━━━━━━━━━━━━━━
■ [ SPECIAL NOTE ]
A big thanks and 50% of the design credits for the lowercase 's' go out to elmoyenique
━━━━━━━━━━━━━━━━━━━━━━
■ [ "Pro" VERSION EXTRA'S ]
The new "Pro" version update for GROOTESK utilizes several TrueType smart-font features and control characters to map two or more glyphs for combining glyph composition.
INNERCITY — Geometric future retro display grotesque
════════════════════════════════════
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 !!
════════════════════════════════════
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.
════════════════════════════════════
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.
════════════════════════════════════
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
This is a cloneMAUHAUS ― 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
════════════════════════════════
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.
════════════════════════════════
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
════════════════════════════════
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.
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
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
══════════════════════════════════
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 clean headlines or ads as well.
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
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, that in return give many of them a somewhat harsch and featureless mechanical appearance, I choose to try and achieve the opposite, aiming for a softer, friendlier and more humanized feeling instead.
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
Dimensions: (in grid units)
X-Height: 1 .625
Cap-Height: 1 .875
Em: 3 .5
Brick Size filter: 2 : 2
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
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.
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
The other style variations can be found here:
ELEGANZA (Tight)
ELEGANZA (Tall)
I hope you like it...
This is a clone of STF_ELEGANZA (Tight)