Searching for more “Geometric” fonts?
Buy and download “Geometric” fonts at MyFonts.
BOOTSHAUS — Geometric "Bauhaus"-inspired modernist sans
═══════════════════════════════════
Bootshaus is another endeavour into the Bauhaus realm of typography.
Focus for this font lies mainly within it's broad choice of glyph alternate forms to select from for stylish texts or logos.
Much of the extra glyph alternative forms are loosely based on the lettering by Sascha Lobe for the Bauhaus-Archiv
Many more glyph alternative forms are planned to be included, stay tuned..
— WIP
Cheers!
ARC - Modern geometric sans
================================
Refurbished version of a old Fontstruction.
The idea was to keep it clean and simple.
================================
1/8th stroke weight
Enjoy!
This is a cloneOBLONGUS - Modern light weight monolinear geometric sans
════════════════════════
■ 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
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
STF_DAMAGE INC. - Tech inspired condensed geometric sans.
=============================================
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
EPOCH - Modern light-weight geometric display sans
───── 「 MEASURES 」
(in grid units)
X-Height: 1
Cap-Height: 2
Descent: 1
Optical Corrections: None
Stroke: 1/8 th
4-Em / 0.125 : 1-Stroke (0.125 ≍ 1/8 th)
― No filters used.
───── 「 SUMMARY 」
This is yet another deep dive into the very small and tiny quantum realm of FontStruct's small grid and light-weight stokes.
Unlike some of my previous endeavours into this dark corner of the FS-editor, which could have dizzying complexity in forms, this project for once didn't stress the sh....*t out of me by stretching the limits for my capabilities beyond what is still comfortable this time. Nor did it drain every last frigging bit of my knowledge or clever creative insight to pull it off.
On the contrary,
For once it remained largely a pretty straight forward and easy project in terms of forms and geometry. The absence for most of the 'bar-raising' features such as diagonal forms, rounded, transitions or stroke modulation made this 'FontStruction' that much more easy.
And when metaphorically breaking it down to the bare naked form and necessities, this design mainly consist of FS's (default)-brick set, resized modifications of those, combined with a set of stacked composites.
There a still a number of things I'd rather seen differently, and will see later attempts at making improvement, but taken in a broad perspective most of the included material so far look pretty fine to me already. And to point out one of the things that is still bugging actually are the 'accented' letters.
Some glyphs have odd values for their 'character'-width, and this makes it impossible to achieve 'grid to em-square'-bounding box allignement in FS's editor. So accents in these asymmetrical values look slightly ofset.
― "Changing character widths to nearest even value is simply far too destructive to the stylish characteristics of the fonts appearance"
───── 「 ABOUT THE FONT 」
In the end it became a pretty cool looking light-weight geometric modernist sans-serif style that at the same time has strong hints of Art-Deco-style lettering as well.
And apart from the minor things it fell short with, I think there is a lot about its overall character-set design and forms that is looking pretty darn rad actually if you ask me.
Content-wise the font is a single case design in a 'all-caps' or Majuscule style. The (Lc)-string was kept empty for deliberately for the technical reason of preserving all the (default)-blank metrics data for any further design updates.
───── 「 WHATS INSIDE 」
A little bit of everything...
■ Body text formatting:
□ Basic-Latin based character set with accented letters & numerals
□ Most punctuation marks
□ Numerous symbols
■ Decorative formatting
□ Pictorial attributes
□ Repeating patterns
───── 「 THE END 」
Let me know what you think so far,
Cheers
Edit: Good news! I cancelled to make this font in fontstruct because im going to transfer it to Inkscape (to design glyphs) and Fontforge (to copy paste the glyphs here from Inkscape for metrics, kerning, and font data stuff) so I don't have to rely on internet connection anymore. I even want to make lots of varieties of this font from sharp corners to gear looking corners to a bit of shifted glyph chaos.
I think I can let you use this font now.
I published this because I just want to know what would happen if I published a fontstruct. It was initially undownloadable.
Here's a preview of my first font I made in fontstruct. I initially made this font in Geometry Dash level editor (yeah, you've read it right) and left unfinished and I decided to reconstruct the font here in fontstruct.
Fontstruct is really good font creating website (I wish there was offline app/software version of fontstruct). I've encountered an annoying jumbled brick bug, but fortunately I've manage to fix the bug, by replacing "my bricks" with the correct bricks from below (don't know how to explain).
This is a cloneDER 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
Schlanke Schöne is a tall condensed geometric sans serif typeface.
=======================================================
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
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...
This is a cloneA modernized geometric monoline gothic script design in progress.
Its a all caps design but with a double sized uppercase.
The style of design metrics made it tough to allign the punctuations so that they all fit both upper & lowercase strings, but I did it the best I could.
No numerals done yet, I might do them soon.
I hope you like it so far
This is a cloneTYPE-O-NEG4TIVE ― Avant-Garde reverse-contrast inspired sans
═════════════════════════
Experimental endeavor into avant-garde, reversed-contrast inspired letterforms.
I will explain the font in more detail bellow in the comment section.
Cheers
STF_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)
==============================================
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!
DIDUDE (Condensed) ― Contemporary Neo-classical "Didone" style serif
════════════════════════════════════
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.
━━━━━━━━━━━━━━━━━━━━━━━━━━
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..
━━━━━━━━━━━━━━━━━━━━━━━━━━
Here is a link to the other font style in this typeface family:
STF DIDUDE (Regular)
Cheers
WIP
All caps geometric gothic sans-serif project. Its a semi bold display design that looks a little like those early grotesque types.
The uppercase O has a distinctive circular shape and has a unusual 3x3 grid square dimension. A number of glyphs still need modifications to achieve better solutions. Also is the character set far from complete yet.
I hope you like it so far
A little bit of a experiment in finding interresting letterforms in the most basic of geometric shapes and without the use of any complex fontstructing techniques. And the only expert mode feature used for this was making composite brick to get the different slants and stroke weights.
Bellow I will include some further in-depth info about this design.
But, I'm very pleased with the final result.
Enjoy!
BEST WISHES TO ALL OF THE FONTSTRUCT COMMUNITY,
HAVE A PROSPEROUS 2019!!
--------------------------------------------------------------------
A simple geometric tile mosaïc design, and has only a very limited character set.
Folding and incisions of lines inspired by Sed4tives STF_DER ZEKLUS...
"Next in Folded Line" was cloned from→ "Next in Line"→"EC_Hollow"→"Ec_Tunnel"→"Auto Mode"→"Auto techno"→and originated from "RoadTest".
Thank you guys
This is a clone of Next In LineSTF_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!
FRESCHER - 'Impossible figures'-inspired display type
═════════════════════════════════════
Inspired by some of the poineers in this field:
Oscar Reutersvärd, Maurits Cornelis Escher and Roger Penrose
═════════════════════════════════════
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.
═════════════════════════════════════
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 clone