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LEOPOLD PRO (Serif-Regular) — Modern geometric condensed slab-serif
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This font is the second style instance for the newly launched "Leopold Pro" typeface family, and is kicking off this new family of fonts.
The first one came as a minimalist, geometric sans serif style, this second font adds a serif style variation to the family. Both the "sans-regular" and "serif-regular" styles have identical visual properties for size and weight to allow seamless combination of the two, and as the name already suggests, represent the "Regular" style for the family.
Motivation for this was to craft a slab-serif style for the original geometric letterforms that has strong antique mechanistic qualities to add somewhat of a typewriter characteristic.
The relaxed optical proportion, short unbracketed serifs and open spacing results in clean and pleasant to look at text. Largely thanks to these properties it is still relatively legible in terms of a slab-serif style.
The other style can be found here:
LEOPOLD PRO (Sans-Regular)
Two additional extra "Light" and "Bold" weight classess are also currently in development, both remain works in progress for now, but are expected to be included in the future.
I hope y'all like it so far,
Cheers
This is a clone of STF_LEOPOLD Pro (Sans-Regular)KROEPOEK -Letterforms influenced by the orient.
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Simple geometry based design that tries to imitate Asian style letterforms.
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The font comes as a "all-caps"(majuscules) with the lowercase string used to include a set of glyph alternatives for the uppercase set, but cutting the descending parts of the glyphs.
As a little bonus, a set of underlined lowecase vowel alternatives (a, e, i, o, u and y) was also included to allow a small level of personal depth. These can be found in the Unicode block for: 'Halfwidth and Fullwidth Forms'
Besides the letters there is also a set of essential punctuation and symbols present to make the font proper functional.
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I hope you like it,
Cheers!
BOOTSHAUS — Geometric "Bauhaus"-inspired modernist sans
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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!
VAN NELLE (Blueprint) — Geometric modernist sans
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☛ THE SOURCE
A re-interpretation of the 1926 geometric sans serif alphabet system reproduction by Jacob Jongert, published in a 1930 sourcebook by N.J. van de Vecht. The geometric uppercase set of the alphabet system is what would later become the famous sans serif capitals which he used for lettering throughout many of his Van Nelle materials.
☛ THE FONTSTRUCTION
Attempt at making a convincing recap of the original alphabet by Jacob Jongert as it was shown in the 1930s sourcebook, and extrapolate that into a full functional font. The decision to go with a small grid sparked a number of limitations in terms of the design freedom that forced some inevitable changes. But the general idea sort of became not to make it a revival, but rather more or less a faithful revision. One that would still be instantly recognizable yet didn't necessarily had to be all about accuracy.
☛ —The small grid design made sure this wasn't happening anyway!
But, for instance, the most striking difference between the two fonts (their weight) in fact is such a byproduct for one of those limitations. Something FS's small grid couldn't properly reproduce, so VAN NELLE (Blueprint) has a slight stronger weight, making the font somewhat of a bold style version of the original. This in addition provided me with slight extra freedom to inplement a little personal touch for further manicure of the font's finer details. Which allowed me to cope with some of the optical clunkiness that come with a fatter face and the grid based design.
Besides these circumstantial differences, which were basically beyond my control, I've also made some intentional changes to make the typeface more practical to use. The changes include things like the significantly lowered ascender height, the slight different width for certain letters, larger tittle (dot above i, j & ij), and several more. despite these changes I believe it very much still reflects what Jongerts once invisioned for the system.
☛ SOME NOTES ON THE ORIGINAL AND ITS CREATOR
Jacob Jongert(1883-1942) was a advertising designer from the Netherlands. After varied studies, including being Roland Holst’s assistant and an acquaintance and colleague of S. H. de Roos [who brought the Arts & Crafts ideas of William Morris to the Netherlands and devoted his career to book design and typography] with whom Jongert experimented with several printing techniques and discovered graphic design as his ideal art form.
¶ In 1923 Jongert rolled in a unique and long-term collaboration with the Van Nelle company, where he became head designer, a position he held until 1940. The Van Nelle company had an extremely modern approach towards advertising (they even commissioned Cassandre to do a poster) and Jongert created for the firm a recognizable image with clear shapes, powerful letters and primary colours, totally Dutch avant-garde in style, and with a strict and rigorous approach directly linked to De Stijl principles. The corporate identity he created has become a milestone in the design world.
¶ The lettering, however, is the driving force that ties it all together. The style is a straightforward set of plain, mono-linear, sans serif capitals in a style that just started to come into fashion in the late 1920s, early 1930s with the rise of functionalism and geometric type design. Yet, while these ideas were already thrown out there, its clever simplicity plus the systematic and cohesive way Jongert implemented his lettering was unusual at the time. The square and minimal construction of the forms allowed the letters to contract and expand to fit any situation, yet maintain a consistent and recognizable appearance throughout the Van Nelle line. ¶ Something we only recently have learned to appreciate is to see his hand crafted system amid the current advancements in variable-font technology, which offers a similar kind of flexibility to typeface designs. A quality that certainly placed him well ahead of its time.
What I particulary like about Jongert's original is the stuff that is going on in the lowercase set of the alphabet, which are those quirky lowercase letter inventions that are different from the more traditional modernist sans, but sadly the lowercase letters were pretty much never used in his works.
I created a simple PDF typeface specimen for those who want to see the high-resolution preview.
PDF SPECIMEN WAS DELETED
Thats all Folks ☚
☛ 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 cloneSTF_ELEGANZA (Therapy) ―Contemporary geometric humanist sans
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A font style, that while simplified by old tradition, saw new light by modern sophistication.
It comes in a solid medium weight that is very suitable for body style text with good readability, but it does perfect clean headlines or ads as well.
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The goal was to make a clean but somewhat more contemporary and playful take on a 'Grotesque' sans-style.
In an attempt to break away from the traditional trend of Grotesque type designs which evolved more around pure geometric shapes and aim for perfect circular, triangular or square shaped letterforms, that in return give many of them a somewhat harsch and featureless mechanical appearance, I choose to try and achieve the opposite, aiming for a softer, friendlier and more humanized feeling instead.
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Dimensions: (in grid units)
X-Height: 1 .625
Cap-Height: 1 .875
Em: 3 .5
Brick Size filter: 2 : 2
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This is the 'Therapy'-style in the 'ELEGANZA' typeface family. This version basically aims for the exact opposite effect than what the Tight' version did. The name 'Therapy' relates to its 'opened-up' appearence and the overall de-stressed propperties of this version. The more relaxed and spacious distribution remotely resembles the characteristic feel of a typewriter face. But the main purpose for this version is to create visual hierarchy in your layout.
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The other style variations can be found here:
ELEGANZA (Tight)
ELEGANZA (Tall)
I hope you like it...
This is a clone of STF_ELEGANZA (Tight)VOLLE BUISJES — Geometric sans-serif style
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[ INTRODUCTION ]
This font had derived and materialized from my previous FontStruction called Buisjes, and had innitially been planned to be made into this “solid”-style instance that would've then were to be combined and included to the original master font. That idea was later canceled when I decided not to make this part of the “Buisjes”-typeface.
I still went on completed it though, but I was now simply treating it as this unrelated new font instead.
The original “outlined”-variant still stood testimony in this second stage of development, as it served as the global basic backbone for this. But, since it now no longer was bound by accurate representation I could start utilize more dynamic sculpting techniques and make minute adjustments that incnclude some optical corrections, as well as implementing a slight more polished looking geometry.
[ TECHNICAL BACKGROUND ]
I took a clone from “Buisjes” and started modifing it into this new solid style. What I basically did was utilizing the “brick swap”-method in the FS-editor to replace every brick inside the font's “My Bricks”-palette. By doing so, essentially converting the font one-brick-at-a-time into this 1 : 1 conversion of its source without making any additional changes to the actual glyph-contours.
After a while due to some undesirable result that came from replacing the original bricks the design took a different turn when I started realizing that making an exact 1 : 1 conversion into this solid style wouldn't generate the most desirable looking font. This new solid version that was rendered from the “brick swap”-process seemed to have several optical complications, that when compared to the original outline version, had quite the different effect on its physical properties as well as the aesthetic quality of the letterforms, and had far less visual appeal. These newly presented optical misfortune also had a direct negative effect on the font's legibility. In oder to gain a better understanding as to why it took a toll on legibility some additional thing needs to be explained first, to make sense of it all later. This explains in short the visual effect of added contrast that comes from that “bi-linear”-characteristic nature of the outline version, which employs so much more emphasis to the font's overall geometric properties of various form, and therefor to the contour shape of a glyph. In return this has a direct impact on the overall effectiveness of these forms.
The reduction of this additional contrast within the font's “positive vs. negative”-whitespace balance for the solid version results in a letterform that has a rather weak representation of its several typographic components as well as for each of the individual letter-parts that form a whole, which also help to distinguish one letter from another. In simple words this means that a solid style lacks a lot of that emphasis that is present in the the original outline version, and makes for a far less pleasant and effective font.
Another issue I had with the 1 : 1 identical conversion was the unanticipated but pretty drastic deterioration of its initial “wow”-factor in the solid version that was generated. No longer beneficiary from additional added value that came with a more “decorative”-characteristic that is present within a outlined glyph contour. Also the “bi-linear”-nature of the outlined letters sort of gave the impression it was putting double the emphasis to the typographic parts and the geometric properties that make up each letterform. The rather squarish “box”-like characteristics of the lettering became much more evident in the solid glyph face. Shifting visual focus from the previously more ornate display attraction away towards this more “mechanical”-style that is this rather plain and somewhat shallow looking flat faced letter.
All of these were things that worked out just fine in the font's outlined version, but not so much in terms of a solid “filled”-like style.
Here are some of the things that cause trouble within an exact 1 : 1 conversion into solid bricks:
• Enclosed typographic elements render much thicker than what is considered “acceptable”
(requires optical correction)
• Diacritics render too thick and often too big
(requires a complete re-design)
• Radius of FontStruct's default solid circle arc connection brick is too small
‣ Making a solid font constructed from these to look compressed
‣ Arc intersection point not sitting deep enough
• Reduced emphasis in depth of geometric form
‣ Simple rather “feature-less” and “squarish”-looking geometry
(both requires numerous custom composite bricks in order to break-away from these constraints)
— The combination of the above in terms of the appropriate adjustments required to make optical corrections in order for it to have balanced proportions will have such significant impact to certain aspects of the physical presentation of the letterforms that they no longer share that seamless overlapping cohesion, and it couldn't really classify any longer as being this solid / filled style instance to the original master font.
That wasn't all (LOL) but yeah I'm done typing for now!
Hope you like it, more info follows..
Cheers
This is a clone of STF_BUISJESLEOPOLD PRO (Sans-Regular) — Modern geometric condensed sans
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This is a minimalist, geometric sans serif font with medium contrast and a strong compressed look. The modern condensed forms make up an elegant and classy looking font.
The overall design is a mixture of contemporary design with antique inspired elements.
The other style can be found here:
LEOPOLD PRO (Serif-Regular)
Cheers
This is a cloneBENGALIQUE - 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
BOUWHUIS - 'Bauhaus'-modernism inspired minimalist geometric sans
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I am in a Bauhaus-vibe last couple of day..
So here is yet another venture into the modernist minimalism aesthetics of the previous century.
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This Font losely draws on the basic concept for the 'Universal Type' that was originally designed by Bauhaus student Herbert Bayer.
It's basically a hugely inspired tribute to Herbert Bayer's several forms of ―'Universal'.
But I want to be clear on the fact that this isn't a revival of the original alphabet or anything along those lines for that matter.
Instead it is a intermingling personal interpretation of his multiple works and ideas. Attempting to merge this recollection of Bayer's rational 'functionalist'-approach towards combining aesthetics and function, as by which he is answering to the 'Bauhaus'-philosophy and the 'Form follows function'― design principle.
But besides being a 'inspired' recollection, still the main focus for this FontStruction was to come up with this personalized and stylistic derivative version that pays homage to various of his original work. Unifying the various characteristic Bayer idea's-n-bits within my personal visual representation of the general concept into a new piece.
For it's primary style-concept I envisioned BOUWHUIS being something fresh and somewhat different from the gross majority of similar inspired works out there. This led to the decision for going with a more contemporary and modernized (― as oposed to modernist) style lettering.
In addition to that I pursued a much more vibrant and nuanced typographers sensitivity towards letterform calligraphy and decorative features.
Strong geometric core elements of the font make up for a expressive simplistic structural basic form and it has 'zero' stroke modulation for thickness.
It's regular weight combined with that predominant circular and square-based geometry of the letterforms result in this 'open', and overall ventilated characteristic of the design.
The typical crude appearance that usually comes with a strong geometric sans like this was compensated for in BOUWHUIS by the design's subtle deviations in form and the various decorative calligraphic letter-components.
Something that completely denied Bayer's principle in approach to modern typography and to create an "idealist typeface" was; The reintroduction of it's uppercase letters.
Part of Bayer's rationale was to simplify typesetting, strip all that he felt was unnecessary or the typeface had no need for in order to function, till there was not much more left than just the nearly bare-naked form.
It seems that unintentionally some innuendo of Art-Deco―flavoured hints also found their way into parts of this design.... ―Hmmmz
― but I think I like them, so no worries on behalf of that
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As a little bonus topping it all off there is also a super tiny experimental lowercase caracter-set (X-Height=1 grid unit)
Located in the Unicode block for "Halfwidth and fullwidth forms"
I hope y'all like it so far, more will follow soon.
Cheers
VON NEUHAUS — Geometric “Bauhaus”-inspired style
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This is the latest evolution of a “Bauhaus”-inspired constructivist style typeface design that originally started 5 years, or two font versions back.
To me personally this is a long awaited triumph, that has finally materialized after years worth of been haunted by this idea, and the crazy speculations about this ghost that would never be...
Well, that was untill now... So at last, I can now finally proudly present to you this latest of arrivals to come from this unforeseen series of typeface progressions.
This newborn addition is in fact the 3rd phase of this letter concept's evolution, and caused the font project to undergo a series of addaptations that graduatelly increasing the levels of sophistication possible by chaging it's internal structure and behaviour within the FontStruct-editor. This 3rd addaptation unlocks the FontStruct editor's “Expert Mode” full power potential.
Enabling all editor functionallity to provide the most versatile font creation capabilities available within FontStruct.
STF_BLAUHAUS was the font's very first version, created back in early 2019. It's the font's original concept as it innitially was first intended. It essentially started out as a personal study into the design of letters on a small grid. And more importantly, the creation of required composite bricks to do so.
The idea back then was to craft the most complex geometry possible without the use of any “Expert Mode” functionality whatsoever. Now, what this innitially did was still quite novel to me at that time, as this had led to the development of a FontStruction that was solely built from the extensive use of composite bricks. Not just a couple, but a staggering 272 composite bricks in total. Many of which in fact are quite intuitive and required certain amounts of careful thinkering with the maths found in it's geomtry to craft these custom brick compositions.
So as explained above, there was no use of any of FontStruct's “Expert Mode” functions. This meant that the option to nudge, flip or rotate any of the bricks wasn't available. Now this changes everything in respect to building complex fonts, since in order to get all the bits and pieces of a letter such as: crossbars, intersections, curves and corners properly aligned requires, a precisly fitting composite brick to be tailor-made. In terms of the FontStruct limitations, this cause the physical properties of FontStruct's brick composition tool to be fundamental as to how much complexity and refinement can be put into it's letter geometry. In other words this is fundamental as to how well crafted the design is going to look in the end, since there is no option to further manicure shape or form other than from within those bounds of the adjacent 16-brick-array grid squares of a selection for composition.
I've choosen to design the alphabet concept in this “Bauhaus”-inspired geometric style, simply because of the simplicity this style has in terms of its basic pure geometric forms. The final result became this simple and bold looking small grif display type with a “3-bricks” Em-size only.
but it had some crucial compromises that had to be made due to FontStruct's design limitations. Not terrible, but not quite perfect either.
One very important byproduct from this limitations as were described above was a huge collection of very intuitive custom brick compositions that offer seemless alignement and perfect fits, basically an extensive set of custom bricks that work in a very similar fashion as FontStruct's default “Connect” bricks.
Bringing us to the main reason for 2022's version of this font.
STF_BLAUHAUS (Plus) was the font's second version, and most recent state that it sat in for the last year, up till this now. In this 2022 version of the of this font design modification the FontStruct editor's “Expert Mode” functionality was introduced into the design. Hoping to further manicure some of these compromised critical area's in an attempt to see what refinements could be implemented to revise the 2019's original version.
Now that the option to nudge, flip or rotate bricks was available, new more complex geometric shapes suddenly became possible. This sparked an explosion of new characters and additional alternative forms. Although now the FontStruct editor got vastly more versatile and potent, it remained strongly limited by that still present 1:1 brick size filter setting. Nevertheless, this made possible a very substantial update of the older font, and allowed many new shaping capabilities.
STF_VON NEUHAUS is the 3rd and final evolition to have come from my earlier FontStruct endeavours; STF_BLAUHAUS and STF_BLAUHAUS (Plus)
This version basically saw the transition from a font only using 1:1 brick size filter into a font at 2:2 brick size filter settings to unlock all power potential of the FontStruct editor's “Expert Mode” functions.
I could now write another eqyually as long body of text, explaining what's new in this final version or which other improvements were made, or say about it whatever the hell I want, but I figure that the picture becomes even more apparent when simply comparing the 3 fonts from old to new, and see the evolution happening before your eyes.
Start with STF_BLAUHAUS, folowed by STF_BLAUHAUS (Plus), and witness the full glory of "next-level" FontStructing that made possible the last version STF_VON NEUHAUS.
I hope you like it,
Cheers
This is a clone of STF_BLAUHAUS (Plus)Experimental 24-segment display or massive monochrome Mondrian matrix. Pixel compatible!
The thinking behind this one was that with incongruously sized segments arranged in the proper way, I would create a design which was effectively 5x5, but which accomodated more glyphs than 5x5 usually does. Negative space is incorporated into the structure of many glyphs, though not enough to classify this as an IVO design.
"Qualtron" is the name of an imaginary entity that a friend believed in - a being meant to represent the result of "a mathematical equation that can rule the universe". I didn't inquire further about it... :D
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Design Rules:
1. Segments can have interior length/width of 2 or 5.
2. The central 2x2 square must always remain open.
3. Square bricks and 90-degree angles only.
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Original size: 20.75pt (use multiples of this value for pixel perfection)
Some kind of great big ol' chain.
In retrospect, I think it looks like a jewelry chain from a dwarven civilization. Perhaps the hypothetical jeweler cut and ground the stones in an imitation of some dwarven font!
When glyphs are used in isolation, they somewhat resemble carved signets or seals. Increasing the letter spacing allows you to create a variation of the design. (This is something that must be done in-software since the font will render as monospaced by default.)
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12SEP2018: Added lowercase... the low resolution combined with the design method make it very difficult to render distinctive lowercase versions of every letter, but I'll keep working on it. There's a lot of similarity between pairs like S/5, Z/2, etc., so this font is most effectively used in forms of writing wherein context suffices to inform the reader as to the identity of each glyph (lists, prose, and technical writings). If you want to use this in a password system or something, I recommend using one case's glyphs only.
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Design Rules:
1. Negative spaces will be areas of 0.5 bricks' effective length or width.
2. Negative spaces may exceed the 0.5 measurement only by increments of 0.5 and in only one dimension at a time.
3. Glyphs will fill their framed canvasses to the greatest extent possible while adhering to the other rules.
DIDUDE (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
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.
BATAVIER (Pro) — Geometric display sans
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[ MEMOIR ]
Revision / revival of the geometric lettering seen on a 1916 Dutch litho poster for the Wm H. Müller & Co.'sRotterdam-London passenger service called Batavier-Line(Batavier-Lijn in Dutch) which was originally designed by Bart van der Leck(1876 - 1958).
The Batavier Line existed from 1830-1960, and was the oldest steam shipping line in The Netherlands.
[ UPDATE INTEL ]
A couple of small changes were implemented compared to v/d Leck's original lettering. Most significant is the upscaled Ampersand, but numerous other small cosmetic or optimizing modifications were made as well.
I completed the full alphabet plus numerals and included additional symbols and punctuation marks to make it a fully functional typeface. The lettering is all caps (majescule) only. Some lowercase letter locations harbour a glyph alternate uppercase form as could be seen in the original litho poster source. Another bunch of alternate uppercase forms and underlined “superior” small capital letters were located in the “Halfwidth And Fullwidth Forms” Unicode block. In addition to that it has accented Latin letters for multilingual support. Also two resized alternate forms for the Ampersand and two stylish ligatures have been included.
[ SUMMARY ]
This is actually the second revision I did for the litho lettering by v/d Leck. The first attempt was made using a (faux-) Bézier approach, resulting in a huge grid canvas (168 grid units / bricks tall monstrosity). This made it a lot of hard work to build and for some letters impossible to properly implement kerning since FS values only allows min. -10 / max. 10 of grid units for kerning.
As part of the endeavor to refurbish some of my older FontStructions STF BATAVIER was one of those that was in serious need of some overhauling as well. The problem it presented was the font's cap-height. It was actually so tall and impractical to work and / or modify, that the first revival attempt never really fully materialized beyond a basic character set.
A full glyph only fitted on screen with the FS-editor zoomed-out max. and my browser zoomed-out at 30%. At this scale not only the canvas grid lines in FS's editor all but dissapeared, but it also resulted in a down-sized brick (or 1 square grid unit) with on-screen rendering at only 3×3 pixels, as oposed to 64×64 pixels with the FS-editor's default zoom settings.
So imagine selecting a tiny 3×3 px speck when working the glyph canvas at brick level to modify glyphs... pretty much impossible. Now, the other situation wasn't a whole lot better. This had the browser's zoom restored back to 100%, making the glyph canvas at brick level “workable” again. But in respect to the cap-height this only renders a very small section of the glyph on-screen. Requiring a huge deal of additional canvas navigation in FS's canvas editor, better known as “Pan the view (H)”, which is done with the hand tool.
And well, as many of you will know, this is an absolute bummer When navigating (or panning) a glyph bottom to top requires 3 full canvas swipes.
So yeah, the only way for an extended version ever to materialize was to be rebuild it from the ground up at a much small scale, using very different measurement ratios compatible with FontStruct's kerning.
[ TECH INTEL ]
This second revision attempt successfully reduced the font's cap-height down to a comfortable 5 bricks (or grid units) tall and Em-square of 7 bricks total. Some optical compensations were implemented to certain elements such as stroke weight corrections and careful minute differences in vertical positioning of letter mid-section elements.
For now thats all Folks..
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
TEFlonALuminium — A contemporary geometric sans-serif
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Inspired by the brand logo for French kitchen and home appliances company 'Tefal'.
The font is an extrapolation from the five letters that make up the original logo. I have made some small changes to certain characters to make them more suitable for a full font and body copy text format.
I hope you like it..
Cheers
This is a cloneA spur-of-the-moment project. An exploration of geometric silhouette conformation and fun Futura-based alternates (specifically, using the circles as strokes).
Glyph alternates can be accessed under the Cyrillic characters.
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!
This is a cloneTYPE-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