My first submission for the Numbers competition.

Alt 1 in exclamation mark "!"
Ugly alt 8 in ampersand "&"
0 with the dash in "@"

This font (especially 6 and 9) will probably be edited in the future.

Republished with Latin accents and a few new symbols.

DALLIANCE GROTESK — Geometric gothic grotesque

═══════════════════════════════════

Dalliance Grotesk is a solid sans-serif lettering concept that builds on the ‘core’-lettering concept of frongile's amazing work called Liaison Grotesk

Liaison is a renegade take on the gothic grotesque sans-serif style. A wonderful mix of early egyptian styles that get blended with subtle neo-grotesque hints, held firmly together by a rigid condensed geometric letter-backbone. The crude design of Liaison provides a very distinctive and unpolished appearance, that breaths a lot of visual character.
Its geometric quirkiness and rather irregular letter widths, just the slight imperfect overall lettering simply came together perfectly in frongile's original design. Making this a text-book example as for whyback in the day this style became known as ‘Grotesque’.

Yes, Ugly.. Obnoxious.. and... ‘Always in your face’
— Exactly how we like them best...

Dalliance Grotesk is the result of harvesting some of that original soul personality as was seen in Liaison and borrows it for extrapolation into a different font.

While Dalliance tried to preserve much of the overall letter-backbone structures from the original source, its primary aim was, to push towards a more polished finishing touch.

Simplified letters that were stripped of most quirks and bits, keeping only their rough shape intact.
In addition, all curved letter-parts were fully re-build with smoother contours and more natural flowing curve transitions. The spurred top and bottom stroke-stops for the lower-case letters had been changed so that the top now slightly differ from the bottom spurs (different tapered angle). Also the top spurs all have been slightly lowered to make them sit a tad bit bellow the x-height of the font.  

Main modification revolved more or less around achieving cleaner overall text rendering and better optimization for body copy in small point sizes. In the process of getting there, I carefully adapted each glyph equipped fit, to appropriately accommodate all the ty(pro)graphic goodness one can possibly hope to pull out of a Fontstruct.

Smooth (near)-Bézier contour quality, optical compensating correction adjustments, such as overshoots, small vertical stressed contrast and improved stroke joints. Also the font's proportions for height to weight ratio has drastically changed.

— Utilizing sort-of an attenuate 'knockoff' to frongile's original concept for his Liaison Grotesk.

I would like to thank him for allowing me to harvest the basis of his lettering-concept and letting me re-use that as the stylistic back-bone in the creation of my own font.

Based on the font 'Kettler' (Eric Olson, 2002), which in turn is a tribute to the great 'Courier' (1955) by Howard "Bud" Kettler. As often happens to me, this recreation was born from the attempt to improve some characteristics of the original glyphs that I considered appropiated, in addition to being able to have a personal modern typewriter font. The monospace of this kind of letters has been a bit relaxed on this occasion. PS: Thanks for the helpful hand from @Sed4tives!

Outline unicase font with a lot of alternates (including a lowercase "c" at the "¢" glyph).

Another Eurostile-based font. Something you'd see on the side of a spaceship.

this is my first published font since I joined. So, I am not a professional font designer. I just made this font for fun. So if you have any problems please feel free to share them in the comments. 

Yours sincerely,
Thank you.

TEFlonALuminium — A contemporary geometric sans-serif

═══════════════════════════════════

Inspired by the brand logo for French kitchen and home appliances company 'Tefal'.

The font is an extrapolation from the five letters that make up the original logo. I have made some small changes to certain characters to make them more suitable for a full font and body copy text format.

I hope you like it..

Cheers

Rogue is a semi-upright slab-serif font. My first ever project to use ×2 Brick size filter.

_

This originally started out as an attempt to recreate Anonoma Less Characters. But then, things took a turn and Rogue was born.

The reason I made the font "Semi-upright" was because bold upright serifs (at least to me) tend to look cool and stylish. Though, I still wanted to keep the sense of roman serif in the font. So the a, g and u are roman. The style of v, w, x, y, z in most italic serifs look too obscure and grotesque for my design, so those are all roman with y being the only exception. Basically, a mix between upright and roman.

_

I have plans to expand the project into supporting Greek and Cyrillic as well as provide alternative glyphs for the font.

_

Of course, the font has imperfections here and there. Comments for improvements or feedbacks are all welcome.

That's all I had to say.

got inspired by some handwriting fonts on FS. Tried out some brick combinations and really liked this one.

Improvements, clones and suggestions are always welcome.

A Sci-Fi themed display font.

This is my first shot at making an actual display typeface. Honestly, I am quite impressed at how this turned out.

Although this is still very imcomplete, I am planning to go back & continue this Fontstruction soon.

It's finally ready!

Because NOBODY IN YEARS has made a version of Kapow with all the numbers and accents, so as Thanos would say.... "Fine, I'll do it myself!"

Behold: Kapow Plus Ultra! A complete rework of one of fonstruct's most popular fonts with new tiles for smoother "curvature"; Fully optimized kerning and tracking for usage in comics; And includes all numbers, punctuation, accents, and other characters missing from the original Kapow.

BONUS FEATURES: Mac option symbols supported

Update: Now with extra Manga symbols

@Christian_Munk_(CMunk) You're welcome.

A blocky sans serif. Not sure about the overshoots, they seemed a bit excessive in capitals (due to the larger flat edges) so I only kept them in the lowercase.

Lowercase font with some alternates (a, e, f, j, m, p, t, w) in the uppercase. The "tt" & "ff" ligatures are at the ""fi" & "ff" glyphs.

Logical evolution of zolid02, less experimental and more readable, complete and compact.

Republished with some accents, diacritics, etc. Likely still in progress (as if anything is ever really finished.)  Cheers,

My take on a thin sans.

It should cover all Western European languages (plus Hawaiian and Hepburn romanisation).

First pass at light kerning done, will be refined with use.

Extra "ff" and "tt" ligatures placed on the "fi" and "fl" glyphs. Legible even at pixel size.

Recreated directly from screenshots I took of the game. I replicated every character I could find and extended the Latin set from there.

I haven't played much of the franchise, but I always loved the typeface used in the journals and was surprised no one else had recreated it.

DER ZiiLTED - Neo-Grotesk italic hairline sans
════════════════════════════════════════════

[ 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'
════════════════════════════════════════════

[ 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)
════════════════════════════════════════════

[ 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..)
════════════════════════════════════════════

[ 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

A linear sans typeface with strokes, inspired by the Chicago font.

This project has been abandoned as there wont be anymore updates to this Fontstruction.

Suggestions for redesigning the characters are welcome (if needed or necessary).

Grid Base:   6x4 (px)

Thickness:  Linear: 0.5 (px);   Stroke: 1 (px)

A more usable black version of the screwed zoyuz.