Unicase with alternates. I've used Astronef Super (by excellent typographer JF Porchez) and others like Neil Bold (by the inspirer Wayne Stettler) as a starting reference, but I've redesigned the general aspect of all the glyphs and added a lot of new details, which makes this font quite different and special. I like to review and get a personal second look at some already released fonts, and I like to do this in FS. Thanks again for support me and understand that.
Rogue is a semi-upright slab-serif font. My first ever project to use ×2 Brick size filter.
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This originally started out as an attempt to recreate Anonoma Less Characters. But then, things took a turn and Rogue was born.
The reason I made the font "Semi-upright" was because bold upright serifs (at least to me) tend to look cool and stylish. Though, I still wanted to keep the sense of roman serif in the font. So the a, g and u are roman. The style of v, w, x, y, z in most italic serifs look too obscure and grotesque for my design, so those are all roman with y being the only exception. Basically, a mix between upright and roman.
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I have plans to expand the project into supporting Greek and Cyrillic as well as provide alternative glyphs for the font.
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Of course, the font has imperfections here and there. Comments for improvements or feedbacks are all welcome.
That's all I had to say.
This is a cloneAnother monospace semi-slab-serif cursive-like font inspired by Rogue and a little bit by Anonoma Mono Less Characters.
To me this font seems a little too bold for coding, but it's very reasonable in my opinion (I like looking at my fs RID in my IDE more though).
This font is still WIP so it can update at any time. Expect Cyrillic and latin accents soon.
A recreation of the Super Mario Maker font. Now with lowercase characters and accents! UPDATES: Sep 13, 2015: I've also been made aware that the '7' has changed between the promotional material and the actual game. I've updated the actual '7' to reflect the in-game character as it is more legible. The '7' in the promotional art is now taking the place of the Dagger (†), because honestly, who uses that? In all seriousness, if anyone can suggest a better home for it, I'm all ears. Sep 17, 2015: Found a reference for the letter 'J' and updated accordingly. Nov 12, 2015: Several glyphs have been updated! Notable changes include the ugly old '*' being changed into a star, and the '†' being changed into a crown, as well as several minor tweaks here and there.
This is a clone of Super Mario MakerLEOPOLD PRO (Serif-Regular) — Modern geometric condensed slab-serif
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This font is the second style instance for the newly launched "Leopold Pro" typeface family, and is kicking off this new family of fonts.
The first one came as a minimalist, geometric sans serif style, this second font adds a serif style variation to the family. Both the "sans-regular" and "serif-regular" styles have identical visual properties for size and weight to allow seamless combination of the two, and as the name already suggests, represent the "Regular" style for the family.
Motivation for this was to craft a slab-serif style for the original geometric letterforms that has strong antique mechanistic qualities to add somewhat of a typewriter characteristic.
The relaxed optical proportion, short unbracketed serifs and open spacing results in clean and pleasant to look at text. Largely thanks to these properties it is still relatively legible in terms of a slab-serif style.
The other style can be found here:
LEOPOLD PRO (Sans-Regular)
Two additional extra "Light" and "Bold" weight classess are also currently in development, both remain works in progress for now, but are expected to be included in the future.
I hope y'all like it so far,
Cheers
This is a clone of STF_LEOPOLD Pro (Sans-Regular)ETC Vieux Canard is whimsical, geometric sans-serif font based on V. Sarela's "Res Cogitans" and Christian Munk's "Insular Typewriter".
Some letters are oddly kerned, but that is due to FontStruct's +/- 10 unit limit on kerning.
VAN NELLE (Blueprint) — Geometric modernist sans
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☛ THE SOURCE
A re-interpretation of the 1926 geometric sans serif alphabet system reproduction by Jacob Jongert, published in a 1930 sourcebook by N.J. van de Vecht. The geometric uppercase set of the alphabet system is what would later become the famous sans serif capitals which he used for lettering throughout many of his Van Nelle materials.
☛ THE FONTSTRUCTION
Attempt at making a convincing recap of the original alphabet by Jacob Jongert as it was shown in the 1930s sourcebook, and extrapolate that into a full functional font. The decision to go with a small grid sparked a number of limitations in terms of the design freedom that forced some inevitable changes. But the general idea sort of became not to make it a revival, but rather more or less a faithful revision. One that would still be instantly recognizable yet didn't necessarily had to be all about accuracy.
☛ —The small grid design made sure this wasn't happening anyway!
But, for instance, the most striking difference between the two fonts (their weight) in fact is such a byproduct for one of those limitations. Something FS's small grid couldn't properly reproduce, so VAN NELLE (Blueprint) has a slight stronger weight, making the font somewhat of a bold style version of the original. This in addition provided me with slight extra freedom to inplement a little personal touch for further manicure of the font's finer details. Which allowed me to cope with some of the optical clunkiness that come with a fatter face and the grid based design.
Besides these circumstantial differences, which were basically beyond my control, I've also made some intentional changes to make the typeface more practical to use. The changes include things like the significantly lowered ascender height, the slight different width for certain letters, larger tittle (dot above i, j & ij), and several more. despite these changes I believe it very much still reflects what Jongerts once invisioned for the system.
☛ SOME NOTES ON THE ORIGINAL AND ITS CREATOR
Jacob Jongert(1883-1942) was a advertising designer from the Netherlands. After varied studies, including being Roland Holst’s assistant and an acquaintance and colleague of S. H. de Roos [who brought the Arts & Crafts ideas of William Morris to the Netherlands and devoted his career to book design and typography] with whom Jongert experimented with several printing techniques and discovered graphic design as his ideal art form.
¶ In 1923 Jongert rolled in a unique and long-term collaboration with the Van Nelle company, where he became head designer, a position he held until 1940. The Van Nelle company had an extremely modern approach towards advertising (they even commissioned Cassandre to do a poster) and Jongert created for the firm a recognizable image with clear shapes, powerful letters and primary colours, totally Dutch avant-garde in style, and with a strict and rigorous approach directly linked to De Stijl principles. The corporate identity he created has become a milestone in the design world.
¶ The lettering, however, is the driving force that ties it all together. The style is a straightforward set of plain, mono-linear, sans serif capitals in a style that just started to come into fashion in the late 1920s, early 1930s with the rise of functionalism and geometric type design. Yet, while these ideas were already thrown out there, its clever simplicity plus the systematic and cohesive way Jongert implemented his lettering was unusual at the time. The square and minimal construction of the forms allowed the letters to contract and expand to fit any situation, yet maintain a consistent and recognizable appearance throughout the Van Nelle line. ¶ Something we only recently have learned to appreciate is to see his hand crafted system amid the current advancements in variable-font technology, which offers a similar kind of flexibility to typeface designs. A quality that certainly placed him well ahead of its time.
What I particulary like about Jongert's original is the stuff that is going on in the lowercase set of the alphabet, which are those quirky lowercase letter inventions that are different from the more traditional modernist sans, but sadly the lowercase letters were pretty much never used in his works.
I created a simple PDF typeface specimen for those who want to see the high-resolution preview.
PDF SPECIMEN WAS DELETED
Thats all Folks ☚
☛ 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
MIKITA - A "Chrome Script" style font based on the "Makita" logo type.
It is a simple 'semi' connected script, with only the basic character set. I don't feel like this requires having tons of typographic features. It is just aimed at writing simple things in this script style.
I hope you like it nonetheless
Cheers
REWINDER - A bold and decorative "I don't have a clue" style font.
Alternative lowercase versions for (a, c, e, g, j, m, n, o, q, s, u, v, w, y, z)
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Usually I design fonts from a general concept I have in mind and start with the Latin alphabet first since I am most familiar with these characters. Then when I have completed these I start adding extra language support. letting everything evolve from there on out into the other languages such as Cyrillic or Greek. Doing it in this fashion I find myself having the best change of doing a decent job designing characters I am not familiar with the right way and in line with the design parameters.
This time I starten designing the Cyrillic alphabet first, trying not to think about the Latin set design at all. I did this in an attempt to have a neutral mindset that wasn't influenced in doing it a certain way.
And I must admit, this was the best and most comfi time I ever did a Cyrillic set. I experienced a sense of having a lot more freedom for creative output.
The result became this cool looking "hell knows" what kind of style letterforms. I have no clue if I actually did a decent and accurate job at the Cyrillic set, and I'm not sure where to go from here on out either.
I hope you like it so far
Cheers
Friends, I'm asking for help! Which "R" do you prefer? The one with the straight, or curved leg? I'm split, because personally I much prefer the straight leg, but curved seems more consistent with the rest.
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The term "sidereal" (/saɪˈdɪəriəl/) refers to a measurement of time based on the position of stars.
Industrial, geometric, display, extended, modern, uniform weight. Based on a 2-brick tall grid. Inspired by Microgramma/Eurostile and the Terminator logotype.
"Prototype" means that this is not the final verison. In this case, FontStruct has been used as a fantastic preliminary design tool. But due to its limitations, the font will have to be reworked. Not by much - only the ⅝ roundings will be made circular in a traditional font editor, I'll be introducing optical improvements, and real kerning will also be implemented.
FontStruct's kerning tool is extremely rudimentary (understandable), and honestly, because of that, I left the kerning in a really messy state, it's kind of beyond repair at this point, as I don't really know what's what anymore. Oh, and also - due to limitations of the nudge tool, the ampersant (&) is offset to the right by half a brick, I tried to fix it with kerning as well, and it kinda works, but that will be fixed in the final version, outside FontStruct.
This is a cloneNEXT 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...
This is a cloneThis is something I've doodled on for a while. I'd like to incorporate shapes other than triangles and rectangles into this but I'm just too busy with other projects. Feel free to continue it, make it better, or whatever.
I had help from BWM for suggestions to improve a lot of the glyphs. Thanks, man!
A little experiment with the "connect" bricks (and an healty dose of stacking). I wasn't referencing any specific example of the style (of which there are many), but I'm sure that, looking for solutions as I went, I ended up with something similar to already existing typefaces (and fontstructions).
Unfortunately, some connecting bricks don't align exactly, so I had to resort to approximate them, when possible, with more stacking, which didn't particularly help the already lacking consistency in construction.
But enough moaning, enjoy!
A version of "Western Traintop" with more characters. (Work In Progress.)
fi=Regular $ symbol
This is a clone of Western Traintop