first time using composites and nudging

drink water

Unicase with alternates. I was trying a monospaced font, but...

Based on old vector display text, mainly on what's seen in The Andromeda Strain (1971). Alternative D/K/V in the capitals.

JS-SAVOIR GEOGRAPHIQUE ROUNDED (BOLD)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co., which was based in The Hague.

This is a bold weight rounded variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

JS-SAVOIR GEOGRAPHIQUE ROUNDED (MEDIUM)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co. which was based in The Hague.

This is a medium weight rounded variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

JS-SAVOIR GEOGRAPHIQUE ROUNDED (LIGHT)
═══════════════════════════════════
A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofers for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co. which was based in The Hague.

This is a light weight rounded variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

JS-SAVOIR GEOGRAPHIQUE (MEDIUM)
═══════════════════════════════════
A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co. which was based in The Hague.

This is a medium weight variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

JS-SAVOIR GEOGRAPHIQUE (LIGHT)
═══════════════════════════════════
A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co. which was based in The Hague.

This is a light weight variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

In/Out letters experiment.

Thanks to Sed4tives for STF_FAUX BEZIER ROTUNDS

For random uses

Based off of Chequered Ink's Rocket Rinder

Soft and rounded NUMBERS like long fairground balloons... and shadowed. The first was the 8 and then all the others arrived.

MARTIAN AMBASSADOR — Future retro / Sci-Fi style
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A future retrostyle that reflects the social construct at the dawn of the Computer Age through the zeitgeist of that 70s and 80s aesthetic fashion, which was strongly influenced by things such as: space, computers, sci-fi and cyberpunk.

LC letters here are simply stencil variants of the numbers and letters.

My little personal and humble tribute to our Astonishing FontStruct on its 16th birthday, full of admiration and respect for the Great Creator & Big Chief Rob Meek and all fontstructors, big and small, who used it during these amazing years! LONG LIVE FONTSTRUCT!!!

FRUNTSTOCT UPPER — FontStruct logotype uppercase reinvention
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This second font is the next evolution in my take on the Fontstruct logo type.

Its an experimental approach towards the reinvention of its uppercase letters. The first one was a unicase minuscule that was aimed at creating an improved version of the original logo lettering concept. FRUNTSTOCT LOWERremained faithful to the original letters, whereas FRUNTSTOCT UPPER is a complete reimagining.

Motivation behind the complete overhaul came after checking out existing Structurosa entries by other Fontstruct members.

It became evident that only one or two members truly were able to build upon its original concept and could come up with a 'unique' and decent majuscule.

AT Archistruct Outline by Kassymkulov (aka Architaraz) being the clear winner in my opinion. — Which is a true masterpiece !!
Some others 'tried' to be original, and made an attempt at a personalized lettering, but couldn't solidify ideas into a consistent whole. But the majority simply copied rob's original design.

— For that reason I choose to take the alternative road and tried to come up with something new.

I hope you like it..

Cheers

70s-ish geometric font, and not much else. It isn’t perfect, and if you have any advice on how to improve it, feel free. 

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

⁹¡Feliz Navidad! - Merry Xmas! - Iloista Joulua! 

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

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

PHOTONIA (Pro) - 70s future retro style
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70s style reverse contrast sans with future retro aesthetics, perfect for projects with a vintage sci-fi, space age or computer theme.

This is actually a refurbished and extended version of an older FontStruction I did back in 2019. The original PHOTONIA was a cool looking little work, but didn't quite made the most of its design concept. Inexperience and poor design decisions had led to inconsistencies and other flaws throughout the font. Besides those it also had a small character set that mostly consisted out of the basic Latin block and bare essential symbols & punctuation marks. But imo it still had quite an interresting retro vibe and the potential to be more. So I decided to give the old project some well deserved refreshments.

First I started eliminating the inconsistencies that were present in the older work, than I continued polishing and re-design / modify several characters hoping to create a greater overall unity to the entire piece. Once I was fully satisfied with this renewed improvements it was time to build and expand the character set towards a more complete lingual and typographic support.

➜ ⚠ Previous Version:
 ▶ Basic Latin only
 ▶ Minimal kerning

➜ ⚠ What's New Inside:
 ▶ Additional Latin and accented Latin
 ▶ Diacritics
 ▶ Many glyph alternative forms
 ▶ Additional symbols and punctuation marks
 ▶ Horizontal box drawing (page deviders)
 ▶ Typographical symbols
 ▶ Ornamental printer's characters
 ▶ 1680 stored kerning pairs

Cheers

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.

Westmobster NRC — Magnetic Ink Character Recognition style

A typeface design inspired by the MICR aesthetics style.

I haven't checked and compared this against any of the others already in existence, but due to this it's obvious that this is going to share several resemblances with other similar fonts that are out there.

But I'm pretty confident that this isn't just your next Westminster or Data70.

Just to point out one of the unmistakable difference here for example, is the more distinct Sci-Fi characteristic, which is especially strong within it's uppercase set.

This sort of fonts have been strongly associated with computers technology, especially in the late 1960s and early-to-mid 1970s. Nowdays these lettering concepts are frequently used to indicate computer involvement in television series, films, books, music fashion and several other media.

In the 1960s, the MICR fonts became a symbol of modernity or futurism, leading to the creation of look-a-like "computer" typefaces that imitated the appearance of the MICR fonts.

It still requires some minor adjustment and tweaks, but the global concept is finished.

Let me know what you think,

Cheers

F.F.M. (ANGEL DUST) — Futurist constructivism style lettering
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Digitization of a typeface for one of my all-time favorite record labels, the German (Frankfurt) based "Planet Core Productions". The typeface was seen on many of their vinyls and cds as well as various other stuff. It originated back in 1992 and was custom made by Paul Nicholson for Planet Core Productions.

This is the ANGEL DUST style variation for F.F.M. and this version features an entirely different font, but sourced from that same record label.

The main purpose for the digital recreation of the label's typefaces is to supplement in the creation of Planet Core Productions related literary scribings. The typefaces are the property of Planet Core Productions and were originally designed by P. Nicholson.

Cheers

F.F.M. (Round) — Constructivism style lettering
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Revision of a typeface for one of my all-time favorite record labels, the German (Frankfurt)"Planet Core Productions". The typeface was seen on many of their vinyls and cds as well as various other stuff. It originated back in 1992 and was custom made by Paul Nicholson for Planet Core Productions.

The original came as a minuscules (lowercase) only, plus it had fewer symbols & punctuation marks. So I took the liberty of filling in the blanks, and expand the character set.

Besides the inclusion of a uppercase set I also added some extra symbols and punctuations as well as a hand full of alternative forms that I gathered from various media such as CD, vinyl and posters.

This is the Rounded style variation for F.F.M. and this version features rounded/soft corners.

The main purpose for the digital recreation of the label's typefaces is to supplement in the creation of Planet Core Productions related literary scribings. The typefaces are the property of Planet Core Productions and were originally designed by P. Nicholson.

Cheers