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Wip. Hashtag No Filters.
The font with great attention to numbers, from which its creation began and they set the style for the rest of the font. The result was an art deco style font with not the most balanced (A so wide), but strictly geometric proportions, as was done on posters of that era.
Estrofft - an german typeface.
Swiss Int’l - a typeface with faux Bézier curves, straight lines and the most of the Swiss typefaces.
'Sacred Textura', by Studio Sampersand, blends medieval Textura blackletter with contemporary design. Crafted with precision, it balances tradition and innovation. Its structured forms and intricate details convey strength and authority. The font follows a precise wide pen stroke-width that follows the hexagonal grid lines; creating a consistent neo-traditional textura font design.
DALLIANCE GROTESK — Geometric gothic grotesque
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Dalliance Grotesk is a solid sans-serif lettering concept that builds on the ‘core’-lettering concept of frongile's amazing work called Liaison Grotesk
Liaison is a renegade take on the gothic grotesque sans-serif style. A wonderful mix of early egyptian styles that get blended with subtle neo-grotesque hints, held firmly together by a rigid condensed geometric letter-backbone. The crude design of Liaison provides a very distinctive and unpolished appearance, that breaths a lot of visual character.
Its geometric quirkiness and rather irregular letter widths, just the slight imperfect overall lettering simply came together perfectly in frongile's original design. Making this a text-book example as for whyback in the day this style became known as ‘Grotesque’.
Yes, Ugly.. Obnoxious.. and... ‘Always in your face’
— Exactly how we like them best...
Dalliance Grotesk is the result of harvesting some of that original soul personality as was seen in Liaison and borrows it for extrapolation into a different font.
While Dalliance tried to preserve much of the overall letter-backbone structures from the original source, its primary aim was, to push towards a more polished finishing touch.
Simplified letters that were stripped of most quirks and bits, keeping only their rough shape intact.
In addition, all curved letter-parts were fully re-build with smoother contours and more natural flowing curve transitions. The spurred top and bottom stroke-stops for the lower-case letters had been changed so that the top now slightly differ from the bottom spurs (different tapered angle). Also the top spurs all have been slightly lowered to make them sit a tad bit bellow the x-height of the font.
Main modification revolved more or less around achieving cleaner overall text rendering and better optimization for body copy in small point sizes. In the process of getting there, I carefully adapted each glyph equipped fit, to appropriately accommodate all the ty(pro)graphic goodness one can possibly hope to pull out of a Fontstruct.
Smooth (near)-Bézier contour quality, optical compensating correction adjustments, such as overshoots, small vertical stressed contrast and improved stroke joints. Also the font's proportions for height to weight ratio has drastically changed.
— Utilizing sort-of an attenuate 'knockoff' to frongile's original concept for his Liaison Grotesk.
I would like to thank him for allowing me to harvest the basis of his lettering-concept and letting me re-use that as the stylistic back-bone in the creation of my own font.
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
WIP
See more:
https://fontstruct.com/fontstructions/show/1679935/topo-black-1-1-4
https://fontstruct.com/fontstructions/show/1503856/cryostasis-1
https://fontstruct.com/fontstructions/show/1864360/tlof-katana
https://fontstruct.com/fontstructions/show/159996/obsolete_2
https://fontstruct.com/fontstructions/show/2004601/ordnancetm
https://fontstruct.com/fontstructions/show/1518260/fs-phobos-1
This is a clone of Patchy Crypt Robotsvan nelle
ゔぁん ねるるえ
ван нэллэ
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 cloneBOOTSHAUS — 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!
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)