back here just to ask if this thing already existed btw hi everyone 

STF_THUNDERDOME - A tall thin stroked Art Deco typeface.

I tried to create pretty simple, elegant but somewhat wonky geometric letterforms.

Inspired by the later 70's Art Deco Streamline period.

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This remains a WIP, many of the glyphs in the Extended-Latin set aren't reflecting their Basic-Latin counter-parts. The character set remains far from complete for now, and many changes need to be made still.

Kerning done only for a few pairs and overall balance therefor is still quite poor I guess.

Some 'more' detailed but derailed towards the end 'in-depth' recap of this font could be found bellow in the comment section.

Stay tuned for more,

Peace!

BENGALIQUE - Contemporary grotesk type

A condensed geometric Grotesque style, that at first glimpse looks somewhat simplistic. And for the larger part this is true. The goal was to do a ever so slightly spiced up take on this 19th Century classic style.

At it's core, the letterforms have this strong geometric grotesque backbone that is easy to recognize.
While trying to preserve that unpolished characteristic classic Grotesque basic form, I attempted implementing some personal twists, hoping to make a more contemporary but faithful variation to it's crude classic renegade traditions.

Some of the more distinguishing features for this font are it's heavily condensed style, the somewhat quirky curvatures, overshoot and/-or tapered ends in certain 'sweet spots' on a glyph's leg or terminal.
At random some legs will also ascend and descend just a tiny tad bit, gently adding this extra layer of dynamic depth and playfulness.
Spurs are slightly tapered, counters, negative spaces are in mostly rectangular and do not mirror their convex outer curves, in fact the only concave curvatures within a partially enclosed negative space are those that have strokes intersecting or when a curved shape is used to replace diagonals.
(such as; "B, Kk, Ss, Xx, Y, Zz" numerals; "2, 3, 5, 8")
Note that a couple more unmentioned characters make use of concave curves as well to accentuate specific choices.
(such as; "R, t, ß, etc.")

Visual corrections and optical compensating was exclusively performed on the top part of the glyphs, not their bottom.

-- Some additional side-bearing and kerning is still required --

No filters used...

The font works best for 'Display Type' at most point size. In smaller quantities it can be used for 'Body Type' as well with some proper adjustments to the horizontal spacing. But, nonetheless the font's condensed nature, it's tight letter spacing and some thinner strokes still heavilly affect the flexibility for legible Body-Type-use.

Recommended size for Digital-Display-use is 28pts or higher, and bellow 20pts the font becomes unreadable in Digital-Display-use. But I hope you like it so far, and feel free to let me know what u guys think! ?

That's all for now folks..

Cheers

OBLONGUS - Modern light weight monolinear geometric sans
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■  Description:
Light weight monolinear geometric sans.

■  Design summary:
One of the most striking features is it's overall well ventilated, light weight and spacious appearence. Some other key features are the glyph's elongated ascenders and descenders. These give the font a somewhat condensed and stretched look. An additional side effect of this is the extra empty vertical space above and bellow a line of text. Contributing even some more to the already ventilated character of the design.
Another key feature are the stylish rounded forms and novel long spurs. I tried to find elegance in it's simplicity, the decorative elements, turns and twists were all done in a very gentle but clearly present manner. All working together these elements give the font a very welcoming, friendly and laid-back vibe. Extra's, such as glyph alternatives will help spicing things up even a bit more.
So, while trying to remain simplistic in nature the font does have some nice stylistic appeal for sure.

■  Tech specs: (measured in square grid units)
Glyphs dimensions:         16 × 8
Weight:                              0.125 (1/8th)
Brick size filter:                 2 ꞉ 2

■  Font features:
 ▪ Basic-Latin, punctuation & symbols
 ▪ Lining & non-lining (oldstyle) numerals
 ▪ Glyph alternatives
 ▪ Partial kerning

■  Update history:
 ▪ [06-24-2022]
     Basic font created
 ▪ [06-24-2022]
     Changed lowecase 'w' with a wider version
 ▪ [06-24-2022]
     Made cursive style lowercase 's' & 'tailed z' glyphs as default style
 ▪ [06-24-2022]
     Partial kerning applied
 ▪ [07-24-2022]
     Added multiple sets of numerals styles
         - Lining (default style)
         - Non-Lining (Oldstyle)
         - Double Struck
           (Slight different, extra decorative, more leaning towards classic style)
 ▪ [07-24-2022]
     Included random stylistic glyph alternates, special characters & ligatures

 - Additional extra characters will follow next update

I hope you like it so far

ARC - Modern geometric sans

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Refurbished version of a old Fontstruction.

The idea was to keep it clean and simple.

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1/8th stroke weight

Enjoy!

STF_DER ZiiLTED - Neo-Grotesk italic hairline sans
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[ 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'
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[ 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)
         • design grid                  13 × 5
         • em-square:                   8 × 4
         • 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

STF_DAMAGE INC. - Tech inspired condensed geometric sans.

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It’s a modern rigid square-based geometric sans that was designed to work especially well in body style text. It was carefuly crafted to be a spacious but continuous fill.
The squarish geometry provides a slight mechanical looking, yet clean and very open basic design.

Each glyph was further constructed with more than enough negative space (white space), making sure any text will look brightly lit and feels well ventilated at all times. This is especially welcoming when having to read large chunks of body text.

The uppercase character set was constructed somewhat of a fraction disproportionally taller compared to the  more naturaly proportioned lowercase character set. This to make any line of text that is set in 'all-caps' to bring the impression of being condensed.
This effect is then exaggerated even more by slightly pulling back on the extent of any ascenders and descenders on the lowercase characters.

=============================================

I am pretty pleased with the result, it's overall look is fairly consistent and legible. The condensed effect allows squeezing a good decent amount of horizontal text per one single line of type.

The only thing kind of dissapointing to me was it's smallest possible point size in digital display use. It doesn't do well bellow 20px (14.5pt)in digital format.
20px is the absolute smallest size for everything to look crisp and alligned with the pixel raster, going bellow this point and the font starts to become blurry and distorted.

I wonder what any of u type wizards think so far...

Cheers

Monospace, single-case display font based on simple geometric rules. Starting with a square, alphanumeric characters are created only by rounding corners, adding a center hole, or adding vertical or horizontal slots, with few exceptions.

Expanded from a logotype designed for a portfolio piece- interesting for titles, headings, and other decorative use but too stylized to be legible in larger blocks (try it out though!)

Alternate glyphs are included in the "uppercase" set.

dice based cypher made from 2d6 sets for each letter~

the key is attached as the sample; the letters shown there correspond to the letters typed out in lowercase as default. As upper case the colors of the dice are flipped but the order of the numbers is the same for each letter.

Сaps more Rock, lovercase more futuristic. UC letters O and Q connect with other letters, lc O Q is slightly larger and does not.

See more:

https://fontstruct.com/fontstructions/show/628973/sorrier_statements

https://fontstruct.com/fontstructions/show/1694938/cryostasis-vempire-1

https://fontstruct.com/fontstructions/show/1702409/voron-2

https://fontstruct.com/fontstructions/show/1922854/moroz-4

https://fontstruct.com/fontstructions/show/480702/en_zelo

https://fontstruct.com/fontstructions/show/178543/bevelicious

Hasor Sans. Planned to make it with a "geometric" appearance, light and easy-to-read fonts. A bit out of how I am used to do, but the intention was exactly that, doing it distinct.

See more:

https://fontstruct.com/fontstructions/show/2066093/pointy-35

https://fontstruct.com/fontstructions/show/1680406/smotra

 Voron means Raven in Russian. Alternative A H K M in russian А Н К М.

See more:

https://fontstruct.com/fontstructions/show/1694938/cryostasis-vempire-1

https://fontstruct.com/fontstructions/show/604263/viking-younger-space-viking-runes-bold

https://fontstruct.com/fontstructions/show/44785/greif_bleit

https://fontstruct.com/fontstructions/show/2138878/rockfest

https://fontstruct.com/fontstructions/show/2011132/lofty-2-1

https://fontstruct.com/fontstructions/show/1460015/kuliboni-punk

https://fontstruct.com/fontstructions/show/1594082/satana-1

The bold version of Krmbpr.

Runic was the hardest charset to make bold glyphs of. Try to avoid using runic with the bold font whenever possible.

A bold, retro, geometric font for all your totally outrageous needs

See more:

Formula 1 font

https://fontstruct.com/fontstructions/show/1790096/insider-4-1-3

https://fontstruct.com/fontstructions/show/1770404/insider-4-1

https://fontstruct.com/fontstructions/show/1678880/hoverboard

https://fontstruct.com/fontstructions/show/1848404/shodan

https://fontstruct.com/fontstructions/show/1679938/foo-skaure-1

Wip

See more:

https://fontstruct.com/fontstructions/show/1706997/general-public-2

https://fontstruct.com/fontstructions/show/1697288/silverhand

https://fontstruct.com/fontstructions/show/2081881/devianttype-1

https://fontstruct.com/fontstructions/show/2102156/blast-9-3

this typeface is not about the meaning of the individual glyphs, they meld together and form something bigger

Works, but I should move the top point on the lower thirds up by one

(I only dowloaded the font thrice, the first was a test to see if the font still worked correctly)

WIP.  N and v looks OK?

See more:

https://fontstruct.com/fontstructions/show/1025307/geostyl_1

https://fontstruct.com/fontstructors/1104892/sychoff/favorites?tagId=134&tag=Cyber&tagType=fave&filters=all

https://fontstruct.com/fontstructions/show/1544279/digitalis-6-4

https://www.fontsquirrel.com/fonts/bender

https://fontstruct.com/fontstructions/show/1748910/tlof-final-cut

https://fontstruct.com/fontstructions/show/1501135/lazzaro-1

https://fontstruct.com/fontstructions/show/1933557/albion-4

https://fontstruct.com/fontstructions/show/1025307/geostyl_1

https://fontstruct.com/fontstructions/show/1144257/hexagonia_1

cloned from Maker Mono by frongile

i thought maker mono needed extensions, so i made this! a proportional version!

not all characters are done though

a monospaced geometric font for coding

This font is not an aubergine (100%)

Please do not place suspicion that this is an aubergine, because it is not...

I ensure you, it is not an imposter font and definitely not an aubergine.

To the mods of this place (I don't know if you exist) - I am 100% certain this is not an aubergine. I am a noble and thrustful man, so you can trust me that this is NOT an aubergine.

Disclaimer:
Please refrain from commenting that this is an aubergine because;
THIS FONT IS NOT AN AUBERGINE.
Thank you in advance for not doing it!

one of my first font i made years ago... 

NEXT SKYCITY - A decorative future-retro art deco style display typeface.

=======================================================

This is a remastered and extended sequel to an pre-existing older design I did.

Now, the reason for this was due to the fact that there was a lot going on in the older version I simply just wasn't satisfied with.

=======================================================

This new and extended version includes an overall more streamlined and consistent design. Much improved and more balanced looking numerals.

Also have I corrected and added numerous punctuation marks, and, last but not least.. What truly changed this previously more of a lettering idea type design into a relative usable full font is, the introdiction of a simple and legible geometric lowercase string. Make the font far more suitable for body text.

The uppercase and numeral strings are a random mix of both normal open stroke-based geometric letterforms and stylistic filled letter-contours, that, when arranged like this making the uppercase character set look playful and slightly future-ish retro at first, yet a somewhat strangely ellegant sophistication that is ever so gently present. This could be used in isolation for a strong and convincing decorative headline text, or in conbination with the lowercase for a surprisingly readable an clean looking body text that has the occasional occurance of a decorative capital letter.

I hope you like it so far...

inspired by neue machina and lack

added fun alternates in the private use area