Tipografía modular creada desde cero, basada en una estetica de velocidad y moderna, trabajo realizado para materia tipografía 2.

bold version of Tranquilizer.

inspired by the OPN logo for the album of the same name.

See also Tranquilizer Bold

Fractura is a futuristic all-caps display typeface built on modular geometry. Its angular strokes, layered structures, and bold digital rhythm make it ideal for experimental design, poster typography, and unconventional branding projects. Designed as part of a creative exploration in digital storytelling of a student project, this font challenges traditional readability in favor of visual impact.

Designed for the Type and Design course, GRAP3000, RMIT University Vietnam, Jul-Sep 2024.

For more inquiries, please email: thaovytran.5104@gmail.com

Tipografía modular diseñada para la materia "Tipografía 2 - 2° año" en La Metro – Escuela de Diseño y Comunicación Audiovisual

Wim Crouwel's New Alphabet was made to be a modular font, though i've only seen the 5x5 version be digitalised into an actual font. So here's an attempt at recreating one of the few featured on the original quadrat print.

The same one that's featured in the cover for Joy Division's Substance!

experimenting with weird kerning in a font inspired by Wim Crouwel's New Alphabet

"One of Total Design's most systematic and most thoroughly researched typefaces was conceived by Wissing: the alphabet for the Rotterdam events venue Ahoy' (1970)."

- Jan Middendorp on "Dutch Type" (2004)

This font is an attempt at a recreation of said typeface. I haven't found most of the glyphs so i tried to make them in a way that resembled this kind of "Crouwel-esque" design.
Hope you enjoy it!
-Pedro

Here's my attempt on recreating the letters as an interpretation based on Erberto Carboni's RAI design since 1954 with more glyphs.
 

Notes:
V1.0 - the first version of the font that supports basic and more latin with the alternate letters.

A typeface that experimented with the idea of using an arc, based on the y=1/x equation. I took from Bauhaus and constructivist design principles, that focused on minimalist, geometric shapes, to reproduce a form that rejects ornamentation in favor of pure visual logic. I live in a place where constraints on political power, freedom of speech exist. In small ways, this font is an expression of how one can use restrictions and constrains to shift things in a different perspective, creating questions of traditional legibility hierarchies while embracing the aesthetics of systematic modularity. 

Made with love and care by @sewninternetgarbage on IG

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

Maltro is a rather cubic and modern font at the same time, it's my first font and it took a lot of time to make, so be indulgent please :)

PERSONAL USE ONLY

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.

Inspired by a retro-futuristic alphabet reference I found and lost years ago. Most of latin diacritics available.

 A script mixed with a modular mixed with a serif!

Stupid lazy font, just to show that I'm alive.

The initial inspiration for this font is the result of having seen the masthead logo of Singapore University of Design and Technology (SUDT).

Prajna is a Sanskrit word meaning wisdom, understanding, insight. Simple on the outside, with some depth on the inside. Looks like it could be 1:1 bricks, but it actually uses a 1.5 sized brick width, giving it additional curvature that wouldn't be possible on a 1:1 scale. 

I was supposed to release this a year ago, synchronous to the Peace 2.0 sculpture that was publicly unveiled which utilized Prajna to spell out "Peace" in 12 different languages. I like to think that since the sculpture was written with Prajna, it has a literal connection with wisdom, understanding and insight. I release it now with the hope that you may write with Prajna of your own.

AVANT-GARDE i10 (Tiles) - Tiled modular type system

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Another revival of the works originally designed by great dutch graphic designer Jurriaan Schrofer

The original source for this fontStruction was the cover of 1963 paperback: "i10 de internationale avant-garde tussen de twee wereldoorlogen"

by Lehning, Arthur & Jurriaan Schrofer

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I provided the (A-Z, Uc & Lc) basic latin character set, numerals, basic punctuations & symbols. Some of the symbols could still use slight improvements though. But the grid/brick system parameters did pose some tough limitations in regard to the allowed complexity.

The quality of the font preview shown above by FS's website is very poor and inacurate due to the combination of brick size filter (0.90-0.90), very small incisions and composite bricks. Best you'll check the sample image bellow in the comment section.

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-- Down here you'll find a link to the 'regular' style version for this family:

AVANT-GARDE i10 (Regular)

(The regular version doesn't come with a full uppercase set)

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I hope you like it nonetheless,

Cheers

BACK TO THE FRAKTUR - Modular geometric calligraphic blackletter

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Calligraphy inspired design, that even though it's name can be deceptive, suggesting one in thinking it is a Fraktur derivative. Which is actually quite not the case, and as far as being a calligraphic Blackletter inspired work, the similarities between the two stop.

This is a heavily simplified and geometric take on the calligraphic style, with much more modernized letterforms as well.

It remains a WIP, but I'd love to hear what u think so far.

Cheers

Grulla's letters –built on a 2x3 square grid– have (tri)angular counters & square terminals. Counterspace=letterspace, letter /f/ is kerned onto "rounded" letters (fc,fd,fe,fo,fs). Diacritics support spanish (hello from Argentina!) 

NEXT SKYCITY - A decorative future-retro art deco style display typeface.

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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.

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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...

A modular sans for bold headlines that stand out