ELEVATED (PRINT) - A 3D outline display typeface design with shadow effect.
It's inspired by the lettering from a sketch by great Dutch graphical designer "Jurriaan Schrofer".
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This is the long overdue shadow style variant which was requested by Goatmeal and elmoyenique. It has diagonal shading lines included (as was also presented in the original sketch by Jurriaan Schrofer)
This rework has one major difference compared to all previous versions, once more it was constructed with a different size to grid ratio, one that corrects the size distribution, enabling the recreation of the original sketch with high accuracy.
The stroke weight in this "PRINT" version more accuratly mimics the original sketch and therefor is not optimized for digital display use.
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The shadow effect is the default style for this font, this also includes all numerals, punctuation marks and other symbols that make up the full font, these occupy the uppercase. The outline style A-Z glyphs occupy the lowercase.
Enjoy!
This is a cloneAnother tribute to the great Dutch graphical designer/pioneer "Jurriaan Schrofer".
This time I didn't do a straight foreward recap of a specific work from the great man, but rather had myself inspired by a number of his sketches and combined those ideas all into this type! (Nonetheless ofcourse still heavily inspired by..)
Here are a few of the original works I drawn inspiration from:
"A.S.C. COMMUNICATIONS, SEMINOTICS, SIGNAGE SYSTEM PTT 1975 (Dutch Post Office) , BEURS VAN BERLAGE, UNREADABLE ALPHABET"
This is a clone of STF_JS-SANS SEVERE (MULTILINE)Another recap from the work of Dutch graphical designer "Jurriaan Schrofer". This one is called "Onleesbaar Alfabet" which translates to "Unreadable Alphabet".
It's the first of three and it features solid glyphs.
This is a clone of STF_JS-ONLEESBAAR ALFABET (OUTLINE)Another tribute to the great Dutch graphical designer/pioneer "Jurriaan Schrofer".
This time I didn't do a straight foreward recap of a specific work from the great man, but rather had myself inspired by a number of his sketches and combined those ideas all into this type! (Nonetheless ofcourse still heavily inspired by..)
Here are a few of the original works I drawn inspiration from:
"A.S.C. COMMUNICATIONS, SEMINOTICS, SIGNAGE SYSTEM PTT 1975 (Dutch Post Office) , BEURS VAN BERLAGE, UNREADABLE ALPHABET"
This is a clone of STF_JS-SANS SEVERE (MULTILINE)Fourth recap in a series to attempt to re-create some of the works from late great dutch graphic designer "Jurriaan Schrofer".
I hope you like it.
This is a clone of STF_JS-SANS SQUARE (OUTLINE)It's been a while since I last revisited the works of "Jurriaan Schrofer".
So here is another one by the late great Dutch graphical designer.
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Style variation in the SEMIOTICA type family.
A type family based on the lettering seen on the book cover of "Semiotica - Journal of the International Association for Semiotic Studies" published by Mouton. The letters and book cover were originally designed by "Jurriaan Schrofer".
As usual I completed the alphabet plus numerics and added numerous punctuations.
This is a clone of STF_JS-SEMIOTICA (INCISED)The second recap of "Onleesbaar Alfabet"
Which translates to "Unreadable Alphabet",
originally designed by Dutch graphical designer "Jurriaan Schrofer".
This one features outlined glyphs.
This is a clone of STF_JS-ONLEESBAAR ALFABET (STROKE)Another recap of the lettering by great Dutch graphic designer
"Jurriaan Schrofer".
This time I tried to revisit the letters Schrofer originally designed for The "Beurs Van Berlage". A commodity market building located in the centre of Amsterdam. Later it was also digitalized and used to for the Dutch passport.
Enjoy!
Modified clone that provides a style variation to the previously published Jurriaan Schrofer font revival I did, called "STF_SATER (Isometric)".
The earlier version I did was in fact amongst my very first font designs ever, and at this stage I still had about zero real typographic background knowledge.
Due to this I simply went out copying the exact lettering 1:1 as was seen in the source that I used. Not realizing that the angle of projection applied to the lettering in the original would render my font next to useless.
So I ended up with cool looking isometric letterforms that were heavily handicapped in a full font.
This time I overhauled the original and got rid of its isometric nature and simply just making it a regular, fully upright style.
Now with this addition it finally becomes a truly functional font at last.
I hope you like it !
This is a clone of STF_JS-SATER (ISOMETRIC)JS-SANS ROUNDED ― Geometric Sans-Serif
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Another font addition to the ever evolving and growing collection of revivals and inspired works called LETTERS OP MAAT, a project celebrating and trying to recreate the typographic contributions originally designed by Dutch graphic designer Jurriaan Schrofer. This time I did a revision based on a alphabet system Schrofer originally created somewhere during the late 1960s.
Its a simple, yet solid and clean looking geometric sans-serif style with medium contrast on its vertical axis. The alphabet as it originally was created by Schrofer featured a Lowercase (A-Z) character set with Small Caps figures (numerals) only, no symbols or punctuation marks were included.
This particular lettering was used in many of his work, such as book designs, brochure and post-stamps, so there is no shortage of resource material on the internet for this alphabet system. Over the course of its existence it was constantly evolving, and Schrofer kept expanding the alphabet system with additional new weights and slight variations. But during his time with Mouton & Co. the concept basics for this sans system became one of his workhorse letterings, and saw widespread application, with appearances dating back as early as 1968, when Schrofer developed the designs for the 1969 Dutch post-stamp.
I've already done a revival for this alphabet back in 2018. This was during my first year of joining FontStruct, so therefore the first revival attempt now seems more like an insult to Schrofer's brilliance rahter than a tribute.
Pointing out some of the flaws present in the old recap:
Certain key design characteristics weren't extrapolated properly throughout all of the required letters or were missing completely (imo. this is one aspect of a font revival the designer at least has to do right). Its Uppercase forms looked as if they did actually belong to another font all together, back then no additional Lining figures were included that would suit the newly added Uppercase letters, and only a handful of very poorly crafted symbols and punctuation marks was included. As a matter of fact, it was only just the second Schrofer work I ever digitalized. So yeah...
— Now five years later the time had arrived for the rematch.
And this time I wasn't going to enter the tekken as the new farmhand or a lazy dog. But came well prepared to battle that grumpy wizard as a quick brown fox. Five boxing muscles flexed and sufficient toxic brews at hand, but above all.. A postgraduate academic with a Master's degree in "DIY FontStructivism" at the university of Home. So there weren't many very exquisite codfish eggs to judge my fizzy vow. Jack proved strong, but picking only six quinces, unable to quickly fax Judge Pat, he eventually been left a puzzled women, and so I jumped jewels when I was crowned the Sphinx's evil Queen Fredericka.
— I think that is summarizing it all very neatly.
But, just in (lower), case, here is a "Give me Gum-Gum-" explanation for all you rocket scientists among us:
For this revision I only used Schrofer's original red / white alphabet sample composition. Sticking with just one resource made sure I kept a non-biased vision for extrapolating the remainder of the character set. This simply because shear amount of variations that Schrofer had contributed to this alphabet system would make it difficult to consistently combine everything into one complete work.
I reproduced and included all Schrofer's lowercase characters and numerals as were shown in his original composition. From that point out I designed the rest of the font myself as faithful I possibly could. Yet in the end two major change were made to my recap in relation to Schrofer's original that aren't typically very desirable in a revival and therefore not recommend when strictly aiming at reviving a original work, but in the case of this Schrofer alphabet in terms of how it was provided by himself it was rather wisdom than that it was madness.
Let me explain what changes were made and what effect they have in terms of to what extend it deviates away from technically speaking still classifying as a revival. First of all, his original Lowercase letter f is very interruptive in a line of text. Up to a point that is really taking a toll on its overall aesthetics. So I modified the original ever so slighty, basically all I did was decreasing the length of the horizontal crossbar a tad bit so that it would allow additional kerning for the character to eliminate the issue it innitially created. I relocated Schrofers original form into the Full Width Unicode block as alternative form.
The other major change was essentially the complete redesign of numerals forms. I replaced Schrofer's original Small Caps figures with a new set of newly designed Lining figures to be the font's default figures, making the default text figures a far better match for the newly introduced Uppercase alphabet letters. Schrofers Small Caps forms are still in there, but now relocated to the Full Width Unicode block as glyph alternative forms as well.
Both of which affect the font's innitial physical appearance, but thanks to some rearranging of segments within the character set neither will have effect on the reviving part of the project, since all of Schrofer's original letterforms are still included and available for use. But this was done to bring a certain level of harmony and logic to the piece from a typeface-standard perspective. So technically this would classify SANS ROUNDED as revision and not a revival. Which to the broader sense is correct. But it also still technically could be used to function as a revival. So perhaps it could be both at the same time?
Than in addition to that I also provided a small number of glyph alternative forms that are located in both the Full Width and Private Use Area 1 Unicode blocks.
Extra alternative glyph forms are:
⮻ acefgjrstVvyz
⮻ 4× experimental lowercase letter 'g' alternate forms
⮻ small latin letter 'Eth'
I hope you like it,
Interrested in more of my Jurriaan Schrofer inspired? Please take a look a my complete collection of Fontstructions tagged with STF-LETTERS OP MAATfor the full catalog of fonts I contributed to this project so far.
Cheers
This is a cloneA letter decorated with a tilting dot pattern.
It's inspired by lettering seen on a brochure for Dutch theatre group "Sater" which was designed by "Jurriaan Schrofer".
I couldn't get it much more accurate that this, neither do I think it was wise desicion to make the main design isometric. Since now I'm tied to this projection. I might do a straight aligned version in the future.
Anyway, I think it is still a cool looking type
This is a cloneAnother recap in a series to attempt to re-create some of the works from late great dutch graphic designer "Jurriaan Schrofer" (15 april 1926 – 1 juli 1990).
This time I revisited the lettering for "BREDERO BOUW BEDRIJF" and completed the entire alphabet and some additional punctuations.
I hope you like it.
I updated and improved my previously published third recap in the series to attempt to re-create some of the works from late great dutch graphic designer "Jurriaan Schrofer".
As extra I added a period plus comma.
I hope you like it.
It's been a while since I last revisited the works of "Jurriaan Schrofer".
So here is another one by the late great Dutch graphical designer.
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Style variation in the SEMIOTICA type family.
A type family based on the lettering seen on the book cover of "Semiotica - Journal of the International Association for Semiotic Studies" published by Mouton. The letters and book cover were originally designed by "Jurriaan Schrofer".
As usual I completed the alphabet plus numerics and added numerous punctuations.
This is a clone of STF_JS-SEMIOTICA (INCISED)Style variation in the SEMIOTICA type family.
A type family based on the lettering seen on the book cover of "Semiotica - Journal of the International Association for Semiotic Studies" published by Mouton. The letters and book cover were originally designed by "Jurriaan Schrofer".
As usual I completed the alphabet plus numerics and added numerous punctuations.
This is a clone of STF_JS-SEMIOTICA (INCISED)Another recap in the ever growing series of attempts to re-create some of the works from late great dutch graphic designer "Jurriaan Schrofer"(15 april 1926 – 1 juli 1990).
This time I revisited the letters taken from one of his sketches called "Alphabet for cutout letters-c. 1985" and completed it with numerals and some additional punctuations!
The only real differences compared to the original sketch are heavier stroke weight and some letter parts/shapes that were drawn in the original were left out from the recap since they are of no use in a typeface!
As usual I completed the alphabet with numerals and some additional punctuations.
Lowercase characters only!!
A recap of the lettering by Dutch graphic designer "Jurriaan Schrofer" that he designed for the "gemeentereiniging" (translated: municipal cleaning services).
It's not very clear which eventually became the definitive alphabet that went into use, so I combined the two most important sketches into one typeface.
Enjoy!
Recap from one of the alphabets originally designed by Dutch graphical designer "Jurriaan Schrofer".
The Letters were Originally designed for the Giro office building floor plan!
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This is a style variation in the "ETAGE AANDUIDING" typeface family.
Enjoy!
This is a clone of STF_JS-ETAGE-AANDUIDING 74 (INLINE 2)Recap from one of the alphabets originally designed by Dutch graphical designer "Jurriaan Schrofer".
The Letters were Originally designed for the "Giro" office building floor plan!
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This is the high-res. outlined style variation in the "ETAGE AANDUIDING" typeface family.
Enjoy!
Recap from one of the alphabets originally designed by Dutch graphical designer "Jurriaan Schrofer".
The Letters were Originally designed for the Giro office building floor plan!
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This is a style variation in the "ETAGE AANDUIDING" typeface family.
Enjoy!
This is a cloneRecap from one of the alphabets originally designed by Dutch graphical designer "Jurriaan Schrofer".
The Letters were Originally designed for the Giro office building floor plan!
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This is a style variation in the "ETAGE AANDUIDING" typeface family.
Enjoy!
This is a cloneELEVATED (REWORK) - A 3D outline display typeface design with shadow effect.
It's inspired by the lettering from a sketch by great Dutch graphical designer "Jurriaan Schrofer".
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This re-work differs from Jurriaan's original sketch and my previous versions.
I changed the size to grid ratio, drastically reducing overall glyph size and increase stroke weight. The changes are optimizing the design, making it more suitable for digital display use. (more accurate 'print' version forthcoming).
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Due to the inexperience I had in my early days of FontStructing, and the lack of proper knowledge about raster scaling, I faced some serious issues regarding the correct size distribution. This made it impossible to include the diagonal lines correctly into that old version of the font, with the diagonals also having equal seporation and white space throughout the entire design.
So instead of making a clone of my previously published version "STF_ELEVATED" in order to include the shadow style variation into that existing family as a seporate FontStruction (like I did with most other style variations in my "LETTERS OP MAAT" series), for this one I decided to rebuild the entire typeface from scratch.
Putting all the style variations together into this single re-worked design.
Some extra characters were added to the set, making it a slightly more functional basic font.
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The shadow effect is the default style for this font, this also includes all numerals, punctuation marks and other symbols that make up the full font, these occupy the uppercase. The outline style A-Z glyphs occupy the lowercase.
Enjoy!
Style variation in the "STF_CONNECTED SQUARES v2" typeface family.
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A remastered version of "CONNECTED SQUARES". A previous recap I did from the work of late great dutch graphic designer "Jurriaan Schrofer".
This time I made a much more accurate version. I also added uppercase letters and some extra punctuations.
Enjoy!
This is a cloneRecap from one of the alphabets originally designed by Dutch graphical designer "Jurriaan Schrofer".
The Letters were Originally designed for the Giro office building floor plan!
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This is a style variation in the "ETAGE AANDUIDING" typeface family.
Enjoy!