Uppercase font. Based in antique romanian alphabets, but modernized. Contains the romanian A, S and T special diacritics (at the <, > and ^ glyphs), and an extra U in the lowercase because the traditional romanian U looks like a V to me. Created during a summer vacation, when travel was still easy.
STF GROOTESK Pro ― Contemporary geometric grotesque
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A clean and geometric grotesque sans-serif typeface that is equipped with tons of extended professional editorial typographic features,
such as:
Multilingual support in 3 script writing systems for 113 languages, glyph alternative forms, stylistic ligatures, accents and punctuation marks, symbols, technical, ordinal, pictographs, additional dingbats.
15164 stored kerning-pair and many other professional features!
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[ TECHNICAL ]
■ Metrics(in square grid units)
5.0-Em / 0.5-Stroke
2.0 : 2.0-Brick Size Filter
Em-Square: 5.0
Cap-Height: 3.25
X-Height: 2.0
Ascent: 0.875
Descent: 1.0
Overshoots: 2 × 0.0625 Top/Bottom - (uppercase only)
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■ [ ADDITIONAL EXTRA IMPORTANT RELEASE NOTES ]
Previously published as a (non-Pro)-version with the same name.
But when that version eventually corrupted, it rendered it useless.
And after several repair attempts the innitial isolated "FS-editor" native
brick corruption eventually was fixed! But from this point onward all theFontStruct-generated-*.TTF-files downloaded from this particular FontStruction delivered a broken TrueType-font file, that upon its installation process resulted in having a error. Leaving me, or anyone for that matter who had downloaded it, unable to get it or its updates installed.
So after unsuccesfull struggling for a while I noticed that the cloned version didn't generate a broken *.TTF-file. So I decided to terminated the original FontStruction and delete it.
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■ [ DESIGN INFORMATION ]
The main inspiration came from those early to mid-20th century geometric grotesques, and visual environment of that era.
Although the characters were mostly geometrically constructed, and remain as close as possible to basic geometry, "STF GROOTESK Pro" includes a blend of stylish hints of hand-crafted lettering influences and intentional irregularities in order to tribute those classical geometric designs.
For extra additional emphasis the design tries to take advantage of a rather unusual vertical Uc>Lc proportion, with ascender parts of the 'Lc' characters sitting well bellow the cap-height, making the 'Uc' appear strikingly taller in comparison. Essentially providing the uppercase with a more "Condensed" feel. Some of the other characteristics of the design are it's sturdy and stylish yet clean presence, with little to no contrast, and it comes in bold style only. But to compensate for the lack of extra weight versions there was some serious time invested into additional testing and optimizing the entire typeface. So it is super well mastered and therefor extremely versatile.
That being said..
Looks can be deceptive at quick first glance, and this indeed might appear as being a very basic looking design. Even though this in fact is far from being just that other basic looking display sans, nor your next boring geometric grotesque!
From a FontStructor-perspective point-of-view I recommend to take a more ‘close-up’ view of the design's finer details. This creates a better understanding and greater appreciation for the extreme level of complexity that is present in both form and function.
Zooming-in on some of the letters would reveal the font's subtle, yet nuanced diversity of that 'previously' hidden underlying personal characteristics that usually remain invisible in text format at smaller point size. Now suddenly just its overall care for finer detail and overall quality within every bit of the design, the tons of custom shaping, stroke transitions and additional smoothing will gradually emerge as zoom levels get ever deeper. At its deepest level it will even shed some light on the surgical stuff that mostly works invisibly and without the awareness of its reader.
A display typeface at it's core, still it performs equally great in very small body-print text or web design application, as it does too in larger format for headings, ads or branding.
Thus providing, this very function efficient and reliable work-horse,
a truly genuine "one style fits all" typeface powerhouse.
And there its no question whether this could hand out "a 'one-punch' K.O." of a Headliner, thats obvious. But this unyielding bumpy behemoth just as well takes u for the long run, effortlessly telling you fascinating stories.
Especially well cared for optimized rendering on a computer display device, and deliver simple yet versatile seemless digital typeset material.
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■ [ SPECIAL NOTE ]
A big thanks and 50% of the design credits for the lowercase 's' go out to elmoyenique
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■ [ "Pro" VERSION EXTRA'S ]
The new "Pro" version update for GROOTESK utilizes several TrueType smart-font features and control characters to map two or more glyphs for combining glyph composition.
A sans serif display unpretencious font with a slightly futuristic touch. Readable even at pixel size, although its legibility decreases somewhat when used for long stretches of continuous text. "ff" and "tt" ligatures available.
PS: My huge thanks to Sed4tives for his much appreciated help.
WIP
See more:
https://fontstruct.com/fontstructions/show/1500535/contortion-c
https://fontstruct.com/fontstructions/show/1577341/zoftly70-eye-fs-3
https://fontstruct.com/fontstructions/show/2256589/sidetracked-6
This is a clone of zimonart R eYe/FSGROOVERIDER — 70's future retro display sans
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Grooverider is another groovy looking display style with that distinctive 70's retro aesthetics.
The concept for the lettering is that of a solid future retro / space-age style with inversed-stress. It's reversed weight contrast adds some additional groovin' funkyness and good old boogie wonder flavour to the font's overall characteristics. Making it somewhat of a hybrid mixture between two distinct 70's and 80's retro styles.
Simple at the surface, but rather complex down at the Editor level, since the letterforms have several tailor-made geometry and curve shapes. Pulling off some glyphs without disrupting the (near) real Bézier curve geometry was tricky I must say. Like for example the joined letters such as lowercase Æ/Œ, question mark, @ sign, number 2 digit, percent sign and lowecase letter S all proved difficult. But also some unlikely ones that are typically pretty straight forward now were trickier within the font's parameters. But I'm pretty satisfied with the end result so far. Little to no compromising imperfections slipped into the design, one or two real minor ones are present, but only truly become noticeable once the size is fully blown up.
It was very fun to make though, I hope y'all like it...
Cheers
This is a clonematrix
This is a clone of Pixel SansSTF_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)MOVIEMAX — Groovy bold & roundish 70s display sans
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Moviemax is a bold display sans-serif that has a groovy 70s offbeat look. Essentially an all-caps lettering concept with simple looking letters. The basic geometry and inversed contrast with its soft rounded finish create an immediate endearing effect.
The default characterset comes as all-caps (unicase) only, with no glyph alternative forms. It has been completed with additional symbols and punctuation marks.
To make thing a little more interresting I have also included a full (A-Z) alphabet set of small-caps letter modifications with drastically altered proportions. Complete removal of the inversed stressed contrast to make a more simplified and cleaner looking minimalist letter style. Their size was also reduced to 50% of the cap-height (scale ratio ≈ 1:2), providing an optional alternative for the missing lowercase forms in the font.
To finished off this extra set of small capital letters, another additional full (A-Z) alphabet set of large capital letters was included. These letters have also been scaled down a bit to better fit with the small capital letter set (scale ratio ≈ 6:8 or 75% of cap-height).
The 2 sets include a slight more unique and stylized level of sophisticated characteristics to the font, and when used combined together in a mixed-case text format creates nice text capitalization.
These alternative forms are located in the Halfwidth and Fullwidth Forms unicode block.
A set of basic punctuation marks that align with the small capital letters had also been included and could be found in the Halfwidth and Fullwidth Forms & Private Use Area 2 unicode blocks.
I hope y'all like it
Cheers
BEACH RESORT — 1920s Art-Deco style
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Beach Resort is a tall geometric display sans inspired by the Art-Deco aesthetics.
It's condensed style makes up for a rather tall and narrow looking letter concept. The design is further characterized by this distinct asymmetric curve geometry. A tiny touch of stress was added on the vertical axis to create this gentle stroke contrast. The stressed weight of the horizontals automatically compensating it's optical correction issue.
— Only minimal kerning for now, more will be added soon
Hope y'all like it,
Cheers
WIP
This is a clone of fs regulateSPOKOYNOY NOCHI — 1920's Art-Deco style
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This is a simple monolinear Art-Deco unicase font. Upper & Lower case glyphs are the same sets. But in addition to the unicase (default style) there is a full alphabet of glyph alternate forms located in the Half Width And Full Width Forms Unicode block.
I done global kerning, but extra pairs are still required..
I hope you like it,
Cheers
This is font named "InfiniNikiFanStruct2023 Max" Was designed by FontStructor description:
Larger than 9999999999x glyphs.
A good font and best font ever!!!!
꧁ Inspirations ꧂
Pixel sans
Gs Unicode 2.0
Catrinity
Nishiki-teki
Fairfax HD
AwesomeDylanStruct/CoolStruct II
InfiniGlyphs Max 1.3 (we found is out than Gracian Gonzalez-Clemente account).
Electronic data/Futuristic Weegee
꧁ Milestone of glyphs ꧂
8000: X
10K: X
꧁ Links ꧂
Enjoy this, Good luck!
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
SEADWELLERS — 1920s Art-Deco Sans style
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I was somewhat inspired to do a Art-Deco style lettering of my own after seeing the stylish Art-Deco flavored FontStruction Aquamarine by IronClaws
Other than that the two fonts remain unrelated and Seadwellers poses no resemblance to Aquamarine. Instead I sort of did a 1920s Art-Deco style lettering with thin geometric letterforms. It's comes as a Majuscule only and the letters have nice quirky width variations, with some letters appearing almost extended, while others are more narrow.
— The similar aqua-themed concept is merely coincidental.
Only basic character set!
It remains a WIP for now..
Cheers
Made with the well-known Grafilone typeface (by Bo Berndal) in mind, but more elongated and avoiding its curious roughness. In addition to the basic set of glyphs, some special ones have been added and the Cyrillic alphabet has also been included. The ligatures "ff" and "tt" are located on the characters "ff", "fi" and "fl". Enjoy it, please.