by Sed4tives

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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!

■  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)


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.



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.


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.


Comment by Sed4tives 15th february 2023
Comment by Sed4tives 15th february 2023
Comment by Sed4tives 15th february 2023
Comment by Sed4tives 15th february 2023
Comment by Sed4tives 15th february 2023
Comment by Sed4tives 15th february 2023
Congratulations! FontStruct Staff have deemed your FontStruction worthy of special mention. “STF_GROOTESK Pro” is now a Top Pick.
Comment by Rob Meek (meek) 15th february 2023

This is a great great work my friend, I think I told you before, but if I haven't, I do now very proud. Congratulations on this very well deserved Top Pick, Sed4tives! 100/10

Comment by elmoyenique 15th february 2023

@Rob: Thank you for the TP boss

@elmoyenique: Thanks too you as well for the ever kind words!

Comment by Sed4tives 19th february 2023
Comment by Sed4tives 20th february 2023

Once more the font runs into issues with the downloaded *.TTF-file that is generated.

The font is recognized by Windows and allows installation as well. But it no longer contains correct and complete kerning data. Significant chunks of stored kerning-pairs are missing.

Also upon further inspection it seems that it is no longer able to load in FontDrop!.

So there likely is something in the character-set or internal font data causing conflict.

Rob, could you please be so kind to take a look into this and perhaps fix it? And perhaps its also possible to restore a older version from today (02-20-2023), anything before 12:30.


Comment by Sed4tives 20th february 2023

It might be because the kern tables are too big for it to handle all at once…

Comment by Bryndan W. Meyerholt (BWM) 21st february 2023

I don't know, I have never heard of that problem to be honest, I dont think that is a very frequent problem in type design. And in terms of how FontStruct is handling the kerning tables upon a TTF-file generation I can't really tell, from my previous experience it seems pretty reliable in other cases.

BTW,  within the FS-editor the issue is non-existent, and the FS-kerning tool handles all the data just fine, so the issue only becomes relevant once a *.TTF-file is generated.

Comment by Sed4tives 21st february 2023

@Rob: And my problem?

Comment by Sed4tives 24th february 2023

I’ll have a look.

Comment by Rob Meek (meek) 24th february 2023

BWM is basically right. There is too much kerning data. I can’t see a quick fix for this.
It might be possible to optimize the way that FontStruct saves kerning information in the font files. I’ll continue to look into this.

Comment by Rob Meek (meek) 24th february 2023

I think a good solution would be to seperate every like 600 pairs into seperate subtales under the kerning table…

Comment by Bryndan W. Meyerholt (BWM) 25th february 2023

@Rob: First of al thanks for taking a look into it. And what a bummer, I really didn't think this would pose a real problem to be honest. I really hope it wouldn't take too much of your time to come up with a solution for this.

Comment by Sed4tives 25th february 2023

This should be fixed now.
It’s incredible that there are so many kerning pairs in a FontStruction. It must have taken you ages! Because the FontStructor’s support for kerning is very basic, I wouldn’t generally recommend doing such detailed work in FontStruct as it is.
But at least now it is technically possible to go on an extreme kerning spree, and the font should still download. And the changes made to fix this case may well help others in the future!

Comment by Rob Meek (meek) 12th march 2023

@meek: Thanks a million, Boss!

Comment by elmoyenique 12th march 2023

@Rob: You gotta be kidding me Boss? For real?! Indeed thanks in a million!!

I didn't even expected it to ever be solved, let alone the Editor being upgraded for exstensive kerning sprees! But yeah, this font took me about 3 months from start till work had stopped after this ussue popped up. Far too long to still be enjoyable obviously (lol)

Comment by Sed4tives 12th march 2023

@Rob Meek: I can confirm that indeed it works like a charm!

Comment by Sed4tives 18th march 2023

Very complete and consistent with some beautiful details.

Comment by four 26th march 2023

@four: Thanks mate.

Comment by Sed4tives 3rd april 2023

This font is an amazing job well done, Sed4tives. I wonder what it would look like when the outlines are cleaned up and polished in an external font editor once the font is finished?

This following list might be getting into nitpicky…

I noticed the following when I opened up the font in FontForge:

Places where there are tiny holes:

&: Where the bottom of the E meets the t part.

5: At the center left, where it goes from straight line to circular.

G, Ĝ, Ğ, Ġ, Ģ, Ǥ, Ǧ, Ǵ, Ḡ, ∪: At the bottom center.

ß: At the right, near the middle.

ɐ, ᵄ: At the bottom right, where it curls upwards.

ɛ: At the top right, where it curls downwards.

ɜ, з, ҙ, ӟ, ᵃ: At the top left, where it curls downwards.

ʀ, ʁ, я: At the part where the legs meet up to the rest of the glyph.

ʦ: Where the bar of the t meets up with the s.

ϖ: At the top left and top right, just below where the top bar connects.

у, ӯ, ӱ, ӳ: At the bottom left, where the glyphs hooks leftwards.

ҕ, һ: At the center left.

Ӕ: At the top center, where the part of the А meets the Е.

ԍ: At the bottom right.

↺, ↻, ⟲, ⟳,  (circular arrow),  (circular arrow): Near where the arrow is at.

∅: At the top center-right.

Ꝝ: At the center left, where it goes up and to the right, and the top center where it starts to curl.

 (alt. g), O, V: At the bottom left and bottom right.

 (alt. æ): At the center right of the e part is.

 (alt. 0), Q: At the bottom left.

 (alt. 0) At the top left, top right, and bottom left where the slash contacts the glyph.

 (whirlpool up),  (whirlpool down),  (whirlpool down thin): At the top right and bottom left, where stuff curls out.

 (whirlpool),  (whirlpool): At the top right, where stuff curls out.

 (rainy weather): In the center of the cloud.

&: At the top left, top right, bottom left, and bottom right. The holes at the top are larger.

m: At the top center-right.

~: At the center center-left.

Other problematic areas:

N, Ñ, Ν, Ṅ, Ṇ, Ṋ, N: At the top left, there is a tiny area not filled in.

®,  (STF signature): Where the leg of the R meets, there is a tiny area that is not filled in.

Ń, Ņ, Ň, Ɲ, Ǹ, Ṉ: At the top left and bottom right, there are tiny areas not filled in.

ŧ: At the right of the crossbar at the bottom.

NJ, Nj, №: At the top left and bottom right, there are tiny areas not filled in on the N.

Ͷ, Ѝ, Ӣ, Ӥ: At the top right.

Ж, Ӂ: At the top left and top right.

Ӝ: At the top left.

Ⲁ: At the top center, where it curls leftwards.

ff: At the bar of the right f, there is an area that is not filled in.

Single points not connected:

ĕ, ė, ę, ḙ, ḝ, ẹ, ệ, ₑ: At the center right of the e.

ѕ,  (alt. e),  (form of no entry): At the bottom right.

Ҽ, Ҿ: At the center left, where the hook starts.

I wonder how many of these you've noticed in FontLab?

Comment by Bryndan W. Meyerholt (BWM) 3rd april 2023

@BWM: Wow that's some in-depth analysis you did there, big up for such a guiding review mate. Thanks a lot for your kind words.

[ “I wonder what it would look like when the outlines are cleaned up and polished in an external font editor once the font is finished?” ]
―When I fully finished the master in FontLab I will make a hi-res PDF specimen that I can show.

[ “I wonder how many of these you've noticed in FontLab?” ]
―I must admit that I was aware of many of these minor critical areas you pointed out such as some diagonal to curved/round transitions. many of these are impossible to fix or get fully flaweless at this size within the FS-editor. So I had to settle with the nearest possible best approx. in these situations.

All other sections, the ones I innitially missed, that didn't fully connect or had gaps/holes have now been patched and corrected. I think I have addressed and fixed about 95% of the glyphs you listed.

[ “This following list might be getting into nitpicky” ]
―Perhaps, but I'm glad you did, since working on these big type projects minor issues and flaws tend to become harder to spot.

The currently remaining imperfections within the Fontstruction have to be adjusted in FontLab.

But I cannot thank you enough for this effort, I hope I can present a fully finished work soon pal.


Comment by Sed4tives 3rd april 2023

Это не шрифт, это произведение искусства

Comment by Lev_Litvinov 20th may 2023

@Lev_Litvinov: thanks pal for those kind words!

Comment by Sed4tives 21st may 2023

Hɑppy New Yeɑr Sed4tives

Comment by Nayef Aljahdali ( Mon, 1st january

i would say add arabic, hebrew, and more coptic letters for plans

Comment by SUMMER701 Mon, 5th february

and also Latin extended-C and D extensions please

Comment by SUMMER701 Mon, 5th february

More Air Assets:

to Jack Nugent: BFDI reference?

Comment by SUMMER701 Tue, 7th may

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