Musician/Type designer/Mashup artist
• BANDCAMP / My music
• MY "JURRIAAN SCHROFER" SERIES
Tools for font testing
Personal URL | https://www.behance.net/Sed4tives |
Fontstructing since | 1st December, 2017 |
Fontstructions | 365 shared, 79 staff picks |
Shared Glyphs | 59239 |
Downloads | 13976 downloads made of this designer’s work |
Comments Made | 2761 |
ELEVATED (REWORK) - A 3D outline display typeface design with shadow effect.
It's inspired by the lettering from a sketch by great Dutch graphical designer "Jurriaan Schrofer".
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This re-work differs from Jurriaan's original sketch and my previous versions.
I changed the size to grid ratio, drastically reducing overall glyph size and increase stroke weight. The changes are optimizing the design, making it more suitable for digital display use. (more accurate 'print' version forthcoming).
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Due to the inexperience I had in my early days of FontStructing, and the lack of proper knowledge about raster scaling, I faced some serious issues regarding the correct size distribution. This made it impossible to include the diagonal lines correctly into that old version of the font, with the diagonals also having equal seporation and white space throughout the entire design.
So instead of making a clone of my previously published version "STF_ELEVATED" in order to include the shadow style variation into that existing family as a seporate FontStruction (like I did with most other style variations in my "LETTERS OP MAAT" series), for this one I decided to rebuild the entire typeface from scratch.
Putting all the style variations together into this single re-worked design.
Some extra characters were added to the set, making it a slightly more functional basic font.
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The shadow effect is the default style for this font, this also includes all numerals, punctuation marks and other symbols that make up the full font, these occupy the uppercase. The outline style A-Z glyphs occupy the lowercase.
Enjoy!
The regular version for STF_UNI
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UNI - is a all caps semi-serif 3-D outline display typeface that was aimed at college sports teams.
The font features 2 styles, regular & shadowed (cloned to a seporate fontstruction).
Shadowed version is found here:
https://fontstruct.com/fontstructions/show/1605019/stf-uni-shadow
Enjoy!
POLYGON WINDOW filled version
This is a clone of STF_POLYGON WINDOWSTF_V0N BRAUN - Simple geometric sans-serif typeface.
I tried to recreate the Braun GmbH logo type from 1952 and work it out into a full font, I used only the five letters in the logo as a reference. Since there are a bunch of revivals out there already. I just did my own interpretation of it.
Enjoy!
STF_EIN BERLINER - Condensed geometric sans-serif typeface.
Inspired by the lettering seen on a variety of different Dutch and German street signs.
The simple and clean geometric letterforms provide this typeface with a strong legibility in both display & body style text.
(grid size 3,5 × 7 at 2x2 brick size filter)
Enjoy
Isometric 3D outline style typeface.
The glyph have a exact copy slighly elevated and to the right of its original which I then connected with eachother to create the box-like three-dimensional idea.
Because of some serious design difficulties it remains far from complete, but I am kind of done with it for now due to this. For now only support for uppercase, no numerals and very limited punctuations. I think I fully kerned it, or at least everything that is important. On last thing I need to mention, the smallest open spaces doesn't allow this font to work in very small size. These will look filled at smaller point size.
I'm not sure if I will ever try another attempt to finish it at a later stage. (who will tell..) ;)
But I think what I've got so far is too cool for not publishing it. So for now it would do just fine as a logotype or for a decorative usage but not much else.
Enjoy!
This is a cloneSTF GROOTESK Pro ― Contemporary geometric grotesque
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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!
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[ 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)
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■ [ 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.
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■ [ 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.
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■ [ SPECIAL NOTE ]
A big thanks and 50% of the design credits for the lowercase 's' go out to elmoyenique
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■ [ "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.
LITERA FACILIOR GOTI ― A 'Blackletter' script style with a twist
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Also known as Gothic script, Gothic Minuscule, or Textura, was a script used throughout Western Europe from approx. the 12th untill the 17th century.
This FontStruction was aimed at mimicing the aesthetic approach of a ― ‘Textura’ variant of the Gothic Minuscule script style, more accuratly refered to as ‘Littera Textualis’. This style is most characterized by its strong sturdy letterforms, with distinguishing sharp, straight and angular features as oposed to the other variations in this catagory.
In terms of authenticity to the original predecessing formal script family, my ‘Litera Facilior Goti’ didn't took a whole lot of care for authenticity. The idea was to take a more independent and experimental approach to shaping the letters and forms, so it wasn't necessarily inspired by any specific typeface in particular, it rather recycles certain characteristics of a ‘Textualis Quadrata’, but beyond those aspects of general guidelines it evolved on its own.
Some of the areas where the design tends to really stray away from the tradition is for example the serifs:
It's often that I have some trouble with the weight ratio distribution of serifs and such elements in simplified modular based geometric Blackletter fonts. In many of such designs they tend to have been left pretty static and equal in thickness throughout the full character set. Which I think is often either having some letters look clumsy or even weird, and generally speaking also often making them appear too thick.
So this was one of the things I had to try and adress, I experimented a little with the style and forms of the serifs. Eventually this resulted in multiple deviations in variety to mix and create a more dynamic distribution. similar to what was done in less formal scripts. Over time they became ever further simplified, letterforms that involved less reorientation of the pen, in pursuit of styles that were quicker to write.
But taken as a whole typeface I find that it is having this certain ‘random-ish’ characteristic that is simply working for the better of these particular style fonts.
I'm still working on improving its overall rhymes and reasons to a certain point that is acceptable, balanced and with enough consistency. But up to this stage I personally think that the concept worked out quite successfully so far. And that even despite the fact that its stripped down of most ornamental decorative calligraphic extravaganza, it still managed to capture a convincing portion of that ‘Medieval ’ looks and personal flavour.
But I think that in the end this became a pretty neat looking font and it would classify somewhere between a hybrid mix of simplified Blacklettering and a drunken man's ‘Textualis’.
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― No filters used!
Cheers!
This is a cloneSTF_DERBY - Condensed Geometric Neo-Grotesk sans.
The idea was to make a typeface design that would suit small point size body style typography.
■ Multilingual support (94 languages)
■ Partial kerning WIP (8694 Pairs and counting)
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The fontstruction is a Faux Bezier style approach, to allow the most freedom in shaping the different letterforms and curves.
Font sample is best viewed at 2x pixel size or above for a sharp result.
I hope you like it!
FRUNTSTOCT — FontStruct logotype reinterpretation
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For all ya failed attempts at re-creating the FontStruct logo typeface.
Many have tried their take on it, most without convincing succes, and often looking downright horrible.
Two of the most commonly made mistakes are.. 1) The introduction of a uppercase alphabet 2) Having a tendency for including far too many stuff in terms of extended language and typographic support, aiming for large multi-lingual character-sets with as many glyphs possible.
The lettering for the FS-logotype has this very distinctive modular geometric stencil concept. The underlying glyph structure consists of 5 horizontal rectangular segments, that together with a custom set of simple geometric blocks form a modular system that can be easily re-modeled or re-arranged to form the different letters and required parts that help to distinguish each individual letter from one another.
The modular system itself is highly simplified and easily accessible to implement additional changes. But typically speaking a simplified modular system comes at a price. And the further a system was simplified, the greater the amount of limitations will be. Which literally translates to a reduction in overall design depth and freedom to implement a more diverse complexity.
—TECHNICAL SPECS:
[Dimensions] Segments
X-Height — 3
Cap-Height — 4
Ascender — 1
Descender — 1
[Filters] Value
Horizontal Brick Size — 2
Vertical Brick Size — 1.8
Horizontal Grid Scale — 0.9
Vertical Grid Scale — 1
In case of this FS-logotype concept, there are a number of key components that put in place this very strict window of parameter-locked propperties, that exclude all but a few remaining options which could still be exploited, and therefor fully dictate whatever is, or is not possible.
Having only 5 segments, limited geometric components and highly restrictive rearrangeable capabilities towards implementing variation all adding up to the difficulty-level for extrapolating some of its more complex and- / or denser forms, symbols accents and puntuation marks.
To cramp excessive amounts of complexity into a very narrow band of realestate would have a certain negative wear on its aesthetic qualities. And is likely to result in a combination of messy glyph composites and queer-looking letter-inventions, contrapped in a mish-mash of irregular and gawky looking, at times even disfiguring geometry that sit at the heart of this problem.
This is exactly where those bad choices can either make or break your font. The modular system for FS's lettering clearly isn't the most suitable of fonts for uppercase forms and complex geometry.
This doesn't mean that it is impossible, as was demonstrated by a small number of re-interpretations that actually do include fairly decent uppercase inventions. One of such that have successfully pulled off the inclusion of a uppercase set for his rework of the logo typeface was Zhalgas Kassymkulov—previously known as architaraz.
His attempt is a beautiful display of craftmanship and clever simplicity.
Here is a list of attempts that I think are successful re-interpretations of the original FontStruct logo:
Structurosa Italic — by four
AT Archistruct Outline — by kassymkulov
Structurosa— by pauldhunt
FS Logotype — by WeDoFonts
pixelstructia — by gamesgames
fs Colophon — by user-juli
fs sanstruct — by ETHproductions
Realised — by thezenmaster1000
Structurosa Bold — by pauldhunt
FontStrukt 2 Soft — by Jamie Place (FontBlast)
Structurosa Bold Too — by pauldhunt
— WHUTZINSIDE THIS FRUNTSTOCTION?
Now, a extensive explanation for the decision to not include uppercase forms to the font, as well as for the constraint on total character amount had been broadly covered above. I think that small caps numeral figures make a much more sleek looking glyph, and tying the overall character set much more together as a whole.
Another, and I say, rather more unique feature found in my version of the lettering is only a subtle one in fact. One that mostly works invisibly, that without the awareness of the reader, is easily missed. And can only truly visually materialize and appreciated seen up close. This is the implementation of several slight deviations and custom sculpting of certain curvatures and round features. Introducing an ever so slightly more diverse dynamic, but also taps deeper into some of that shape contrast propperties.
In addition to that I've also included several glyph alternative forms and small number of ligatures to play around with.
among these glyph alternates there is also this continuous string of 13 rather experimental looking glyph variations for the lowercase letter 's'.
These aren't actually meant to be usable characters, but instead is a collage of different configurations that make various curved geometry, and are simply stored in a glyph-style fashion that provides an actual physical estimation on their appearence and for me to test their functional values in a text format.
So far so good,
I am happy with how the font turned out to be, it is fairly consistent looking and still remains quite usable as a font.
That's all for now folks...
Cheers.
TYPE-O-NEG4TIVE ― Avant-Garde reverse-contrast inspired sans
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Experimental endeavor into avant-garde, reversed-contrast inspired letterforms.
I will explain the font in more detail bellow in the comment section.
Cheers
INNERCITY — Geometric future retro display grotesque
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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 !!
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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.
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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.
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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 cloneNOBUNTU (Pro) -Contemporary humanist sans style typeface.
Updated version of my previously published NOBUNTU font. This version includes much more characters, symbols, many ligatures, as well as language support for most Latin languages.
It is a medium weight, contemporary geometric gothic humanist sans-serif style design with rounded corners and smooth curves. All curves have a slight top & bottom overshoot. The basic Latin string, numerals and punctuation are fully kerned as well as the majority of important characters in the extended Latin string. But some still need a slight adjustment.
The basic idea was inspired by the gentle round corners seen in the Ubuntu and other similar fonts. (But don't make any mistakes, it is most definetly a different font) ;)
So far I am very pleased with the clean and legible result.
Enjoy!
This is a cloneSchlanke Schöne is a tall condensed geometric sans serif typeface.
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The idea behind this font was to experiment with making interresting letterforms, with fewest possible resources. In other words, fewest possible default core bricks, no filters and mostly without expert mode. The only expert mode function I did use was "stack" bricks to make a small number of resized compositions and composite sloped angles. The total amount of different bricks used in the font is 20.
The font design is a simple, fairly straight forward looking sans, but due to this the end result also is pretty legible and clean. I was able to get most of the features done within the design parameters, such include optical correction, diacritics, stylistic alternates and swash capitals.
Very simple, but playful fun...
The stylistic alternates and swash capitals have been stored in the "Halfwidth and Fullwifth Forms" unicode block.
Hope you like it,
cheers
STF_BODIDONE - Classic Didone style display serif.
Ahh sadly due to repeatedly running into a corrupted font when I save newly made changes to it, it eventually catched up with me and tested the limit of my patience.
I have had to painstakingly restore the font 5 times already since I started it.
So I stopped including new characters as well as making new changes to its existing character set. (At least for now)
Too bad because I wouldve loved to see this truly getting finalized.
So at this stage there are still a number of characters that remain in rough condition, and had yet to be further optimized.
The main A-Z alphabet luckily already was close to how I invisioned it, but especially the numerals, symbols and accents still have some rough edges.
Now, forgetting all that, I still think it is not a bad font at all. Everything is there for most common Western-European languages, somewhat still making this a usable font that I shouldn't be keeping in private!
I hope that despite my bad luck this time, y'all still like it.
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About this Font:
The idea was to make a classic Didone style display serif that is meant for making clean headline text similar to those often seen in older magazines or newspapers. I set out trying to design a semi-bold & slight expanded looking letterform with thin hairline serifs and strokes. I choose a large grid scale for the extra freedom in custom shaping this provides.
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Technique I used in this design:
This font in particular I have experimented with working within a "(asymmetrical-) Grid Scale ratio" ( 1,5:1 ), so, changing only the value for the Horizontal grid scale. (This distorts the grid aspect ratio, and is a great way to discover and experiment with getting new forms and shapes).
The 1,5 : 1 ratio was specifically choosen to keep maths simple, in order to rebuild certain required bricks that build specific slope angles , such as a 45° (which is no longer possible to make from the FS default brick set when using asymmetric scale ratios, unless making composites).
But what this also does is opening up a totally new approach to making shapes, and..becoming quite a surprisingly easy shortcut to get unusual shapes or make variations on these, even with as little as just the rotation of the bricks/selection. (thanks to the distorted aspect ratio) :-).
This is a must try for those who are into large grid designs, fake curves or interrested in experimenting around a little.
Enjoy!
BLAUHAUS - Bold Bauhaus inspired geometric typeface.
I know there is tons of out there already, but I had to do one myself...
It's far from perfect, but it was made on a very tiny grid space, so a whole lot of space to occupy with bricks wasn't a luxury this one! (I'll demonstrate a example below)
Still I think it looks pretty rad so far!
This is a cloneDIDUDE (Condensed) ― Contemporary Neo-classical "Didone" style serif
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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.
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Main distinctive features for DIDUDE (Condensed) are:
Tall and narrow letterforms with short 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..
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Here is a link to the other font style in this typeface family:
STF DIDUDE (Regular)
Cheers
STF_CARE SENSITIVE - A modern hairline sans style typeface.
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design grid: 3,5 × 4,5 units
brick size filter: 2 × 2
stroke weight: 1/8
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I tried to incorporate rounded letter parts and corners but this was very tricky to pull off with this thin stoke weight. The font works best at small size due to very small imperfctions.
I hope you like it nonetheless!
This is a cloneFRESCHER - 'Impossible figures'-inspired display type
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Inspired by some of the poineers in this field:
Oscar Reutersvärd, Maurits Cornelis Escher and Roger Penrose
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It's only a small font, that mainly covers the Basic-Latin set.
There is a full(Uc) / (Lc)letter set, numerals and a bare minumum of symbols & punctuations, that allow at least the ability to include some form of basic structure or to clarify the meaning of a text.
I decided to keep the character set small but functional.
Designing a full multi-lingual set of accented letters accompanied with extensive support for symbols & punctuations as well as doing so within the framework for this type of decorative and complex stylistic concept seemed pointless to me due to a number of reasons.
Stylistically speaking for this type of designs it would be highly unlikely it is ever going to be used for large chunks of Body Print. Which is the primarily the only reason for including profoundingly deeper levels of typographic support into a typeface.
FRESCHER's strong and unique decorative appearance means that its is primary a Display font that should only be used for titles, headlines or for small amounts of text at large sizes and conceptual purpose artworks for media, posters, logo's/branding or advertisements.
Another thing is, that given the decorative complexity and conceptual nature of this font, the number of directions into which a certain character-design could be taken succesfuly and still remains to make sense, as well as fitting within that syle framework of the font at any time was drastically limited to only a small few.
Its for those reasons that I rather choose to keep things for FRESCHER simple and effective, rather than I would go through great lengts in order to try and include tons of half-ass and poorly designed extra's only because I desperately was trying to succeed in constructing these into that same 'Impossible geometry' -concept style.
Not to mention that I have a far to incapacitating forms of O.P.N.D. (Obsessive-Purist-Nerd-Disorder), to even think of ever going there.
I'm pretty sure that without a large characted set that would allow it to jump head first straight into "Typographic-'Never-Ever' Land", this severely limited package is more likely to encourages it being used solely for its decorative purpose. In response this automatically forces greater awareness for the strong 'characteristic' qualities of the font.
Whereas massive 'multi-lingual-o-graphic'-typeset materials would have only paved the way to certain areas in which this font isn't supose to be used for to begin with.
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Aaaand,
If, there for whatever obscure personal reason a specific character or symbol that still is absolutely mandatory to have included in the character set as well, just request it in the comment setion bellow.
I'll be happy to design it for you on demand!
For now,
Enjoy!
This is a cloneNumerous single brick pattern fillers and connectors, ready for you to use/clone/copy/change and put into your own designs or whatever.
All patterns are designed to work as a selection fill. So in other words: the patterns will always look the same regardless of the dimensions of your selected area!
They come in a wide range of styles such as: Retro, Tile, Seemless, Textile, Composite, Glitch, Minimalism
All bricks are stored and saved in the custom brick pallet.
Enjoy!
SUPER MA(RE-)O BROS.
A bitmap typeface family that recaps the classic fonts that were used for 1985 Nintendo Entertainment System game "Super Mario Bros."
-- It's a large piece that covers a bit of everything. And two seporate typefaces will be published the following days to accompany this one seemlessly.
both more less finished as well, but changes were made in this one that requires the other two to be fixed again in order to seemlessly work together before getting published, So stay tuned!
About this fist part:
It combines not just the two (title screen and ingame regular text)fonts used for this game, but also includes dingbats related to the game, and combines it all into one single typeface!
The sample will only display correctly at exact pixel size or double the value of this due to dither gradients that otherwise not show as a solid surfaces.
Basic and Extended Latin - letters seen at title screen
Superscripts and Subscripts - regular text font (only partial alphabet, as according to the unicode standard for this block)
Miscellaneous Symbols - miscellaneous dingbats related to the game such as emoji's and blocks to make seemless ornamental features like seen ingame
Halfwidth and Fullwidth Forms - regular text font but with full suport for both uppercase & lowercase, as well as numerals and basic punctuation.
Enjoy!
DOBINI BALWAUM (Inline) — Didone-style 18th century modern serif
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Dobini Balwaum is a Didone, or modern, serif typefaces inspired by the works of Bodoni, Didot and Walbaum.
This font had been in the making for quite a long time as I ren into several design difficulties along the way. Most challenging parameter was the inline width. By default the width for the inline was set at 0.125 (or 1/8th) grid units.
Maintaining a constant width for the inline proved to be next to impossible. Therefor it evolves around a 'close' approximation of 0.125 units instead. Stroke weight for the letterform contours also proved to be somewhat of a constraining factor for the overall design concept. As it limits the ability to build complex geometry.
Due to the complexity in brick arrangements the font remains having some minor imperfections that I wasn't able to polish out so fat yet, and some may never will..
For now only Basic Latin letters, it remains a WIP
I hope you like it so far,
Cheers