See more:

https://fontstruct.com/fontstructions/show/1778910/neo-konstructivizm

An earlier (1926) constructed alphabet from Jan Tschichold, based on a somewhat finer grid and a slightly less condensed uppercase and a bolder appearance overall.

With a caps-height of 17, reproducing some diagonals proved quickly to be between nightmarish and impossible, thus the fidelity is a bit less exact than my previous recreation.

For a digitisation that encompass both designs and offers proper alternates, you can look at Peter Wiegel’s Tschichold.

Proletarian font is inspired by the aesthetics of posters and slogans in the USSR. First, the letters of the Russian alphabet were made. And then Latin signs were added to it.  This version will be slightly improved.

WIP

My version of Jan Tschichold’s “Schmale Grotesk - Leicht und schnell konstruierbare Schrift” (narrow grotesque - font that is easy and quick to construct), from 1930.

Turns out it isn’t always “quick and easy” to translate a pen and straightedge approach to constructed letters into Fontstruct’s prefabricated bricks setting.

In expanding the glyph coverage, I tried to remain true to the spirit of the original self imposed limitations, both in terms of grid (e.g. the cramped space for the uppercase diacritics), and of tools (see the solution for  superscripts et similia).

The font covers all of Google Fonts Basic set and, given the c-caron present in the source, all of Czech orthography. I may try to add other Eastern European languages in the future.

There are many different takes on the same source (including for the visual identity of a museum), you can look at Serious, here on Fontstruct, or at Iwan Reschniev, for an extensive expansion in weights and typographic features.

As always, comments and suggestions are welcome :-)

See also Quick and Easy and New.

WIP

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

van nelle

ゔぁん ねるるえ

ван нэллэ

See more:

https://fontstruct.com/fontstructions/show/1670692/yakz-1

https://fontstruct.com/fontstructions/show/2410668/yko-liki-sans

FABRIKATA —1920s Art-Deco & Dada Constructivism inspired style

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This is latest in experiments into constructing high quality customized curved shapes in small grid fonts.

For FABRIKATA I intended to break away from the grid completely, and create complex geometric letterforms with ultra smooth custom curvatures (near real Bézier).

This is what became the end result of that endeavour.

FABRIKATA sits somewhere between Alphabet Soup's Grafika typeface, countless of old Dada Constructivism print material and the brand logo lettering for Plantur 39.

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

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

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

Cheers

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

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

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

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

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

Cheers

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

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

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

This is the Sharp style variation for F.F.M. and this version features sharp/hard corners.

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

Cheers

a @flakke -inspired constructivist/east asian geometric sans with @bluemon -derived curves

RINKEL — Bold constructivist display design
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This was very much influenced by the rare sighting of

1974's Lettergraphics International typeface by the name 'Belden'

Belden was shown in a Lettergraphics ad in U&lc vol. 1, no. 3 from 1974, without further design credits. It was also featured in the book cover design for "Metaphysics: An Introduction" by Keith Campbell.

—Which in terms I have used for my personal extrapolation of the complete character set of this FontStruction.
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Not a digitizing revival of the original piece, but rather a very strongly inspired personal take on it.

—More complete character set is coming soon..

Let me know what u fellow structivists think of it so far!

Cheers

BLOQUE R 

-" Constructivism's central idea is that human learning is constructed, that learners build new knowledge upon the foundation of previous learning" Phillips, 1995.

This is my first Construction based on the theme of "Rebirth". I chose this theme as I wanted to investigate how a country is "reborn" after a war or a revolution. This led me to read an article about graphic design ideas that came from the Russian Revolution. One of them was Constructivist typography-combination of contrasting shapes and sizes. I looked at the work of El Lissitzky and Alexander Rodchenko. From this research I began to cut out shapes of different sizes and began to construct letters- however, this idea didn't translate well in FontStruct. To widen my research, I looked at Constructivist and Soviet Brutalist architecture which my font was inspired by. It reflects buildings like the Polytechnic Institute of Minsk, The Palace of Ceremonies, and the Georgian Ministry of Highways in Tbilisi.

A constructivist typeface that does the job at nearly all sizes.

An attempt to recreate the lettering seen on a early 1900's poster ad for "Van Nelle" coffee.

(Uppercase only!)

A piece of constructivism inspired by Dutch artistic movement "De Stijl".

A piece of constructivism inspired by Dutch artistic movement "De Stijl".