BOOTSHAUS — Geometric "Bauhaus"-inspired modernist sans
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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!

a square typeface intened to be used for single words, small phrases or for brand names and logos. However i feel it does have a nice textural look when used for large bodies of text. My first published type of Fontstruct. Any feedback would be very much appreciated.

This is what an edited 35A-digit 5x7 matrix display looks like.

It is what's known as a LED/LCD display.

This is what an edited 35-digit 5x7 matrix display looks like.

It is what's known as a LED/LCD display.

This is what an edited 31-digit 5x7 matrix display looks like.

This is what an edited 24-digit 5x7 matrix display looks like.

This is what an edited 13-digit 5x7 matrix display looks like.

This is what an edited 9-digit 5x7 matrix display looks like.

This is what an edited 7-digit 5x7 matrix display looks like.

TYPOGRAAF — Geometric modernist display typeface

Typograaf is simple looking modernist style aimed for display use. It doesn't work well in a long line if text nor at smaller sizes. But perfect for large display work, logo's and such. The letterforms have several little nuances and multiple custom crafted curved parts with smooth (near) real Bézier contour quality.

So far only general concept plus some extra's was created, no multilingual suport for now.

Let me know what you think

Cheers

GROOVERIDER — 70's future retro display sans
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Grooverider is another groovy looking display style with that distinctive 70's retro aesthetics.

The concept for the lettering is that of a solid future retro / space-age style with inversed-stress.  It's reversed weight contrast adds some additional groovin' funkyness and good old boogie wonder flavour to the font's overall characteristics. Making it somewhat of a hybrid mixture between two distinct 70's and 80's retro styles.

Simple at the surface, but rather complex down at the Editor level, since the letterforms have several tailor-made geometry and curve shapes. Pulling off some glyphs without disrupting the (near) real Bézier curve geometry was tricky I must say. Like for example the joined letters such as lowercase Æ/Œ, question mark, @ sign, number 2 digit, percent sign and lowecase letter S all proved difficult. But also some unlikely ones that are typically pretty straight forward now were trickier within the font's parameters. But I'm pretty satisfied with the end result so far. Little to no compromising imperfections slipped into the design,  one or two real minor ones are present, but only truly become noticeable once the size is fully blown up.

It was very fun to make though, I hope y'all like it...

Cheers

MOVIEMAX  — Groovy bold & roundish 70s display sans
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Moviemax is a bold display sans-serif that has a groovy 70s offbeat look. Essentially an all-caps lettering concept with simple looking letters. The basic geometry and inversed contrast with its soft rounded finish create an immediate endearing effect.
The default characterset comes as all-caps (unicase) only, with no glyph alternative forms. It has been completed with additional symbols and punctuation marks.

To make thing a little more interresting I have also included a full (A-Z) alphabet set of small-caps letter modifications with drastically altered proportions. Complete removal of the inversed stressed contrast to make a more simplified and cleaner looking minimalist letter style. Their size was also reduced to 50% of the cap-height (scale ratio ≈ 1:2), providing an optional alternative for the missing lowercase forms in the font.

To finished off this extra set of small capital letters, another additional full (A-Z) alphabet set of large capital letters was included. These letters have also been scaled down a bit to better fit with the small capital letter set (scale ratio ≈ 6:8 or 75% of cap-height).
The 2 sets include a slight more unique and stylized level of sophisticated characteristics to the font, and when used combined together in a mixed-case text format creates nice text capitalization.

These alternative forms are located in the Halfwidth and Fullwidth Forms unicode block.

A set of basic punctuation marks that align with the small capital letters had also been included and could be found in the Halfwidth and Fullwidth Forms & Private Use Area 2 unicode blocks.

I hope y'all like it

Cheers

BEACH RESORT — 1920s Art-Deco style
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Beach Resort is a tall geometric display sans inspired by the Art-Deco aesthetics.

It's condensed style makes up for a rather tall and narrow looking letter concept. The design is further characterized by this distinct asymmetric curve geometry. A tiny touch of stress was added on the vertical axis to create this gentle stroke contrast. The stressed weight of the horizontals automatically compensating it's optical correction issue.

— Only minimal kerning for now, more will be added soon

Hope y'all like it,

Cheers

a cyberpunk font with sharp corners. inspired from a variety of sources but mostly the vectorheart aesthetic (which the "vect" part of the name refers to) from the 2000s. the "ix" part refers to the 9-block height of the capital letters and numbers. you may use this font for anything as long as you credit me. vectix is the future, now is the time to embrace it.

SPOKOYNOY NOCHI — 1920's Art-Deco style
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This is a simple monolinear Art-Deco unicase font. Upper & Lower case glyphs are the same sets. But in addition to the unicase (default style) there is a full alphabet of glyph alternate forms located in the Half Width And Full Width Forms Unicode block.

I done global kerning, but extra pairs are still required..

I hope you like it,

Cheers

NICE LEGS

This is a monolinear hairlined sans-serif typeface inspired by Art-Deco-ish classic modern and old ultra narrow typeface designs that evoked a feeling of sophistication and luxury..
This is a monolinear hairlined sans-serif typeface inspired by Art-Deco-ish classic modern and old ultra narrow typeface designs that evoked a feeling of sophistication and luxury..
A condensed slim & elegant style that has this classy look. The tall upper-case evokes elegance and it's asymmertical high- / low- waist distribution.

NICE LEGS was built using simple geometric shapes to make clean and legible letterforms. The super tall uppercase letters and the low x-height,
making this an eccentric, yet elegant san-serif type

— “Condensed, slim & stylish tall glyphs with that classy look that evoke elegance”.

It's asymmetric high- / low- waist positioning gives the lettering a distinct retro look & bohemian feeling that is great for logos & branding, packaging, titles, magazines, posters, signs, and scrapbooking.

As far as it is a clean looking font, it is not designed for large amounts of Body Copy text. It does work at small size, but it is perfect for branding , logos, and posters.

This font comes in both Capital & Lower letter cases. It's also equipped with many other charaters, such as; Ligatures, Numbers, Punctuation Marks, Accented Latin and a supply of special characters

It’s a minimalist sans-serif, delicate and romantic! The smooth and light execution of it’s clean and sharp lines making this font look sleek and elegant, feminine which is perfect for modern fashionable branding designs.

A condensed font with visual elegance, and smooth curves that make your work look true and attractive. Making this a perfect sans suitable to a wide variety of designs due to its neat and simple style.

More details soon

PS: I'm still working on kerning the font...

Cheers

STEAMLINER  — 1920s Art-Deco style
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[ INTRODUCTION ]
Steamliner is a simple looking linear All-Caps display font with elegant geometric letters. It comes from a mix of Art-Deco retro style with a distinct irregular curved asymmetry, Essentially blending Art-Deco with Art Nouveau into a more simplified clean & solid lettering style.

The character set mixes various glyph alternative forms for the capital letters together to provoke a slight feel of randomness.

— The font Em-square is only 1.5 × 1.5 bricks

Cheers

Bodot — A wide Didone font

BATAVIER (Pro) — Geometric display sans
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[ 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

All of the characters (in Basic Latin) displayed on a 24-segment display.

DAN NIET — Futuristic rounded sans
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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..

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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

my take on a minimal bauhaus font

uppercase i gives an alternate glyph

A font-set I made inspired by the new KIA Motors logo.

Enjoy!

As always, open to feedback and critique

Primary text font used in the menus of Ericsson and early Sony Ericsson phones. Recreated from display pictures of the Ericsson A2618s.

Includes ASCII, Latin-1 Supplement, basic Cyrillic and Greek alphabets, and a few miscellaneous characters, more may be added later. Some glyphs are shown as squares because they are missing on the phone itself.

Note that on some Ericsson phones, the display's pixel aspect ratio is taller than a square, so the font looks taller. This recreation uses a 1:1 pixel aspect ratio.