This font was taken and recreated from popular Tetris clone Heboris. This font has also appeared in Nullpomino. Lowercase characters are symbols taken from the font as well, plus some custom ones.
My try at a handwritten font on a small scale, the fuzzy preview amplifies the effect!
Feel free to comment any other ways to create a handwritten effect on a small scale!
(and yes, some time or another i will try to tackle a large scale font with faux-curves, just not anytime this month and/or the next one).
The magic's all in the lower case anyway. Tech startup circa 2008.
A rounded varient of BlockTrain. Pixel/Bitmap style font with Rounded EdgesThis is a clone of BlockTrain Regular
Pixel/Bitmap style font with Squared Edges
My first advanced font, with composite curves!
maybe i'll finish this; maybe i won't. probably not. y'all got any ideas for < and > ?
* edit: i noticed that this font looks very similar to 'jetstream' by @afrojet. frick. im probably gonna get in trouble for copying something that i didn't know already existed. tell me if i should make this private again.
GROOTESK ― Contemporary geometric grotesque
A clean and geometric grotesque sans-serif typeface that is equipped
with tons of extended features, such as:
Multilingual support (108 languages), glyph alternative forms, stylistic ligatures, accents and punctuation marks, symbols, technical, ordinal, pictographs, additional dingbats and many other useful features!
[ TECHNICAL ]
■ Metrics(in grid units)
5.0―Em / 0.5―Stroke @ 2.0 : 2.0―Brick Size Filter
Optical Compensation: 2 × 0.0625 (Uc only)
The main inspiration came from those early to mid-20th century geometric grotesque sans-serifs, and visual environment of that era.
Although the characters were mostly geometrically constructed, and remain as close as possible to basic geometry, STF Grootesk includes a blend of stylish hints of hand-crafted lettering influence 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.
Some of the other characteristics of the design are it's sturdy and stylish yet clean presence, with little to no contrast, and comes in bold-weight 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..
Since this is seen in small size preview, looks can be deceptive at first glance, and this indeed might seem to appear as being basic looking.
Even though this is far from just that other basic looking display sans, nor your next boring geometric grotesque!
Minute corrections and all sorts of other precise surgical adjustments have been implemented to achieve uniform construction rhythm, and to deliver the best possible balance between clarity, versatility and personality over pure geometric aesthetics.
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.
Especially well cared for optimized rendering on a computer display device, and deliver simple yet versatile seemless digital typeset material.
Thus, providing this very function efficient and reliable ‘Working-Horse’ typeface. ―A ‘one-style-fits-all' powerhouse.
It equally works great in very small body-print size for books or web design application as it also does in large format for headings, ads or branding.
From a FontStructor-perspective point-of-view I would recommend taking a more ‘closed-up’-view of the typeface.
This creates a better awareness and greater appreciation for the level of complexity that is presented in both it's form and function.
Zooming in on some of the characters would actually reveal a rather subtle, yet nuanced diversity of this previously hidden underlying personal characteristics.
And suddenly just the overall care for detail that went into every bit of the design, the tons of custom shaping, transitions and additional smoothing will start to emerge.
Zoomed in even deeper it will even shed some light on the stuff that often works invissibly and without your awareness.
See the provided sample images bellow for more detailed info on its various features.
A big thanks and 50% of the design credits for the lowercase 's' go out to elmoyenique
I hope you like it so far!This is a clone
RINKEL — Bold constructivist display design
This was very much influenced by the rare sighting of
1974's Lettergraphics International typeface by the name 'Belden'
Belden was shown in a Lettergraphics ad in U&lc vol. 1, no. 3 from 1974, without further design credits. It was also featured in the book cover design for "Metaphysics: An Introduction" by Keith Campbell.
—Which in terms I have used for my personal extrapolation of the complete character set of this FontStruction.
Not a digitizing revival of the original piece, but rather a very strongly inspired personal take on it.
—More complete character set is coming soon..
Let me know what u fellow structivists think of it so far!
I AM ON A ROLL!
I don't know how i'm producing fonts this fast, but I am.
PIRATE-Y FONT COMING YOUR WAY!
A fun, jagged and crazy display font!
The lowercase are alternates to the uppercase, so feel free to shuffle them as much as you like!
UPDATE: I changed the "U" and "V", and i made some numbers and simple punctuation. I also made the lowercase/alternates. All thanks to @frongile and @riccard0
BLAUHAUS (Plus) - 'Bauhaus'-inspired design
This is the 'Pro' version in the BLAUHAUS family, and instead to the first version this includes a full uppercase set as well. The glyph alternatives that previously occupied the (Uc) string has been relocated to the "Halfwidth and Fullwidth Forms" Unicode block.
In addition to that a whole bunch of extra glyph alernatives, numerous symbols, dingbats, arrows and other elements are included as well.
I do realize it is far from perfect, but since it was designed on a very tiny grid and without filters, a whole lot of available realestate to house bricks wasn't a luxury for this project.
Nonetheless I've tried to put in plenty of diversity, and I think the underlying constraining effect as result of the limitations from not utilizing 'brick size'-filters works out just fine in preserving a certain degree of minimalism.
5/8 weight, no filters and only 4/8 nudging within FS-editor posed another dificulty, but despite all these challenges it was a very fun project to puzzle with...
I hope y'all like it..
CheersThis is a clone of STF_BLAUHAUS
A display font inspired by one of the UK's first and most influential free-party sound systems- Spiral Tribe. They helped create a culture of freedom and expression through art and music which was heavily (and still continues to be) suppressed by the Police. They used tribal patterns frequently in their artwork, which is the reasoning behind the spiral shapes within the letters.
The weights are varied throughout the letters to make it more playful and psycholdelic, as the rave culture is against agression and force used frequently against them by the police. New age travellers embrace harmony- which is why the letters are sized so that they work together in words to create a wider pattern.
A font inspired by old computers and the pixelisation and simplistic vibe they used to bring.
The heavy version of Capsaicin released back in 2020. Adding thickness wasn't that straightforward due to brick limitations. Alternate construction methods were implemented on the glyphs to create similar inktraps without sacrificing the innate qualities of the typeface.
I would like to continue working on it to make it more visually consistent, but I'll stop at this moment or else it might be a perpetual WIP.
My font is based on the Ministry of Transportation building in Georgia. The building itself is inspired by Japanese Metabolism architecture. Which is a moventment inspired by growth and adapabilty. I wanted my font to feel as though you could stack and change it just like Metabolism architecture.
My ‘white bear’ font is based on my set brief: ‘protection.’ The font style proposes the idea of an atypical font, creating a distorted and experimental look, differing from the ‘norm’. The inspiration for my font is based on the black mirror episode ‘bandersnatch’ where the white bear logo is shown, which presents the idea of gaming, glitching and an overall digital ambience in visual text, leading to my outcome of the square pixel font.