Mix upper and lower case for alternative star positions.

My take on Futura Display. The original has some odd details and inconsistencies, so I made my own version. Some compromises had to be made though... A few alternate characters are in the private use area.

P U B L I S H E D   O N   N O V E M B E R   1 8 ,   2 0 2 5
╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾

PW-Blacker Grotesk — a heavy geometric sans-serif font with robust language support. Capital-only.

This font also contains full 3-square-root characters: √, ∛, ∜.

Fractions can also be typed in this font
Syntax fraction typing: [superscript][fraction slash][subscript]
Example: "¹²⁄₃₄₅", while "¹²" is a superscript, " ⁄ " is a fraction slash, and "₃₄₅" is a subscript.

Over 100 language support: Belarusian, Bosnian, Bulgarian, Chechen, Macedonian, Russian, Serbian, Greek, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Vietnamese, Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu

Please share your thoughts on this font in the comments.

Started with the concept of having only one rounded corner at the top. Named after the Bugatti Veyron.

ColorComp entry, inspired by the Memphis art style. I started this originally a few years ago with several color variations (using the three main colors), but I couldn't decide which ones to go with, so this sat unfinished for a while. In the end I decided to go with this.

A modular colour font inspired by toy bricks and soft plastic textures, suggested to use in large sizes.

ColorComp entry

A font that tries to mimic the anaglyph effect that makes images appear 3D. Red and blue are the most common colors for this technique, but green and magenta work as well. If you had the right pair of 3D glasses, this might look different. 

A blackletter-inspired unicase design. I'm thinking this will look good on certificates, diplomas and all sorts of official documents where readability is secondary. I've got some spacing adjustments to make in the punctuation.

Based on old vector display text, mainly on what's seen in The Andromeda Strain (1971). Alternative D/K/V in the capitals.

A quick modular font based on McLaren's 2025 F1 livery numerals. Still needs some refinement and an expansion of the character set.

Opening day of Marvel's Captain America: New World Order movie! 

It's been so long since I've worked on a fontstruction, I forgot how to stack composite bricks. It's like going back to the gym after a long break and I can't do any heavy lifting and I'll be sore from it tomorrow.

This design is very retro Cap. The fill is a throwback to the original Captain America's comic book chain mail suit material. 

WOLKENKRABBERS — Condensed streamline Art Deco style lettering
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Enjoy!

STF_WALDBAUER — Condensed modernist Bauhaus sans
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This is rather a heavily condensed sans that sits halfway between a Bauhaus and Art-Deco style lettering.

The low waist, tall x-height, long ascenders and deep descenders give this font a somewhat elegant appeal. The uppercase set is clearly Art-Deco inspired, whereas the lowercase set leans more towards a playful Bauhaus mondernist style. Several characters have filled enclosed parts or other exaggerated features as well as non-filled alternate forms.

The idea for this font was inspired and extracted from a 1930s poster ad by Pál Vince for luxury luggage company Waldbauer.

The FontStruction's x-height is 3,5×1 grid units, so its tiny!

I hope you like it,

Cheers

JS-SAVOIR GEOGRAPHIQUE ROUNDED (BOLD)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co., which was based in The Hague.

This is a bold weight rounded variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

Free for personal use only

A basic sans serif font for coding, meant for small sizes (and it would look good in large sizes too, if it weren't for those pesky parentheses...)

A nonogram font. Some variation between uppercase/lowercase letters, alternative 2/7 on < >, and an extra Y on ^. I originally made this in a 5x5 grid, but there were too many glyphs with multiple solutions, so I had to remake the whole thing. (You can still see the original style in the small numbers)

ORIENTFAHRTEN (Pro) — Semi-connected script-style font design
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Losely based on the lettering that was seen on a 1929 poster design by German painter Ottomar Carl Joseph Anton (1895-1976) for the “Hamburg-Amerika Line”  * (click for image of the original poster)

Whereas the original (non-Pro)-version aimed at extracting that “stylistic essence” of the lettering, and made an attempt at extrapolating and restoring a full alphabet from the letters provided by the original poster.. And so, that basically became sort-of a font revival with a little extra's.

ORIENTFAHRTEN (Pro) then took this to a whole nother level.

This reformation wasn't guided by Ottomar's original poster-lettering, but rather a remodeling and amelioration of my initial work.
Many glyphs were fully re-invented, others only just partially improved.

In addition to this, many new things were introduced as well.

For example, the font was further ornated with various typographic elements and bits, reminiscent of calligraphic hand lettering.

Turning this into a much more attractive looking little novelty.

Also some “technical” restructuring of the Unicode character mapping, to creating more user-friendly text formatting properties.

Since it is a semi-connected script, certain characters were deliboratly disconnect and some weren't.

For example, the uppercase letters almost all disconnect, whereas the majority of lowercase letters will connect by default. A set of glyphs alternate forms was included that allow to break the 'connected' flow of a text.

These also function sort-of as “Contextual Substitutions”,  but without OpenType's automated glyph-stream lookup classes. Yet these do allow the manual control over word-endings and word-space situations. So when a default-glyph is followed by a white-space, a glyph-alternate form could than be selected to replace the default-character encoding and improve overall aesthetics and natural flow of text. These substitutions are located in the “Halfwidth and Fullwidth Forms” and “Private Use Area's” Unicode blocks. In addition to the default alphabet letters the font also includes numerous symbols and punctuation marks, as well as ligatures.

As for the “numberscomp” that is currently in progress:

This font was specially fitted with 5different schemes for text figure arrangement.
 • Didot-(old style) non-lining (font default)
 • Traditional-(old style) non-lining
 • Clean-(modern) lining
 • Tradidotional-(old style) non-lining
 • Ornate-(modern) lining

— This does temporarily create a new problem for me though... As this would be my fourth submission to the competition, where a maximum of only three font submissions is allowed. Now, which of these previous entries am I going to eliminate?!

I hope you like it,

Cheers

This was an attempt for a thin line rounded numbers based on straight circles, but could not manage to consistently expand on the idea trough a whole font. Originaly meant for the competition, but it was not worth it at first. 

Mockup: Freepik

MARTIAN AMBASSADOR — Future retro / Sci-Fi style
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A future retrostyle that reflects the social construct at the dawn of the Computer Age through the zeitgeist of that 70s and 80s aesthetic fashion, which was strongly influenced by things such as: space, computers, sci-fi and cyberpunk.

ANTI-QUE — Asian calligraphy inspired
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Anti-que features a romanized lettering concept that was designed to mimic the stylistic properties of Asian calligraphic characteristics.

PS Mockup: Narim Hem

Its purpose built negative font with small overhangs to mask eventual gaps between blocks. Blocks are almost unified (separators and letters I,M,W and some greek and cyrillic are exceptions).

There is also lighter version of this font