04.04.20. Lockdown 2020.
Lockdown doesn't mean you cant level up.
It doesn't have to feel like you're behind bars.
It could be used as a time for personal transformation.
Affecting your outer world by expressing your inner world.
Fonstructing can be a meditative experience.
It all depends on your perspective.
You can fontstruct as a way of creating cool fonts,
or you can see it as creative expression that forms letters,
that spawn words, that serve as the visualization of thought
that manifests deeper meaning. Or not.
Peace, Health, and Wellness to all!
Fontstuff:
Uppercase = worn down brick walls
Lowercase = plain walls
| = 4 bars
- = 1 bar
( & ) = Bent pipes open/close
{ & } = Scaled pipes open/close
ARS NOUVEAUX - Art Nouveau inspired display typeface
═══════════════════════════════════
A personal digital reimagination of the lettering style by "Charles Rennie Mackintosh" (1868-1928), a pioneer of the "Glasgow School of Art" and so called "Arts & Crafts" movement.
His distinctive style of lettering has been seen many revisions, revivals, reimaginations and inspired designs alike over the years, and has evolved into a broad collection of available fonts.
This basic stylistic lettering concept from Mackintosh sort-of losely funcioned as the structural guiding principle for the creation of "Ars-Nouveaux".
This FontStruction is an experimentation into creating similar flavored, but still unique letterforms within that same design framework.
First I started to layout the overall basic asymmetrical core geometry from a set of custom rectangles, half arc's and slants for each of the letters bare skeleton shape. Once I completed the full set of 36 glyphs [a/z, 0/9] These basic shaped were then further modified into more sophisticated finalized letterforms.
Caps-only, but with many alternates, accompanied by a set of ornate initials.
Hope you like it,
Cheers
This is a cloneLUCERNA — Neoclassical stencil serif
════════════════════════════════════
Lucerna is a modern neoclassical stencil serif in the Didot style.
Simple & Elegant...
════════════════════════════════════
Created primarily with the focus towards luxury fashion and marketing brand-oriented projects, aiming at luxurious and sophisticated design projects.
Although it’s a true and fully functional stencil, design focus wasn’t so much
concentrated around the 'functionality' part of the stencil concept. Instead it was more focussed on the stylish implementation of the concept and on making sure it looks pretty.
The stencil concept was achieved by way of stroke omissions. Some of which are large and drastic, leaving only critical parts of the stroke intact, while others are more subtle, like those detached crossbars or cuts seen in the hairlines.
Thin transitional bracketed serifs and a mixture of various sized teardrop- and pointy terminals, combined with the high stroke contrast, these make up for a sharp and interesting looking font that provokes this thoughtful stencil letter concept.
There is a lot of subtle dynamic height deviations going on, hoping to tune in to more of a lively rhythm, and introduce some playful characteristic properties.
Minute changes to optimize optical performance have also been implemented, such as overshoots. The relative low cap-height makes up for a somewhat short and stocky uppercase quality. Its accompanied by a relatively tall x-height that results in a fairly large lowercase size. Due to the lower cap-height of the font, the short ascenders parts of the lowercase letters still exceed above the Cap-Line, preserving some of that otherwise lost white space, improving legibility.
The design's missing segments and various random detached bits 'n pieces aren't as functional in smaller sizes. Making it harder to read or distinguish detached letter elements from puntuation marks. So it is best used for display purpose.
════════════════════════════════════
A small number of glyph alternative forms are included as well:
• 2 forms of lowercase letter a:Single-storey and double-storey (default).
• 2 forms of upper- and lowercase letters Ss:Pointy terminals (default) and teardrop terminals.
• 2 forms of upper- and lowercase letter Tt: Uppercase letter T has two variations of pointy terminals, normal angled and extra angular. Lowercase letter t has alternative form with teardrop shaped terminal to use at the end of words, and can add a slightly more stylish look. The default version has better proportional width with just a small non-decorative curved terminal, this default form has smaller width for a improved horizontal text advance.
• 4 forms for lowercase letter g:Just 3 additional extra slightly alternate forms.
• 5 forms for lowercase letter f:Bracketed (default), curved, teardrop narrow, teardrop extra narrow, teardrop wide.
• Extra set of Copyright symbols:Cap-height size and x-height size.
• 5 forms of Pilcrow symbols:Just 4 additional extra alternate forms.
════════════════════════════════════
It covers most basic Latin languages, 65 in total so far.
Several symbols and punctuation marks are included. (probably more later)
I hope you like it so far,
Cheers
This is a cloneVON NEUHAUS — Geometric “Bauhaus”-inspired style
═══════════════════════════════════
This is the latest evolution of a “Bauhaus”-inspired constructivist style typeface design that originally started 5 years, or two font versions back.
To me personally this is a long awaited triumph, that has finally materialized after years worth of been haunted by this idea, and the crazy speculations about this ghost that would never be...
Well, that was untill now... So at last, I can now finally proudly present to you this latest of arrivals to come from this unforeseen series of typeface progressions.
This newborn addition is in fact the 3rd phase of this letter concept's evolution, and caused the font project to undergo a series of addaptations that graduatelly increasing the levels of sophistication possible by chaging it's internal structure and behaviour within the FontStruct-editor. This 3rd addaptation unlocks the FontStruct editor's “Expert Mode” full power potential.
Enabling all editor functionallity to provide the most versatile font creation capabilities available within FontStruct.
STF_BLAUHAUS was the font's very first version, created back in early 2019. It's the font's original concept as it innitially was first intended. It essentially started out as a personal study into the design of letters on a small grid. And more importantly, the creation of required composite bricks to do so.
The idea back then was to craft the most complex geometry possible without the use of any “Expert Mode” functionality whatsoever. Now, what this innitially did was still quite novel to me at that time, as this had led to the development of a FontStruction that was solely built from the extensive use of composite bricks. Not just a couple, but a staggering 272 composite bricks in total. Many of which in fact are quite intuitive and required certain amounts of careful thinkering with the maths found in it's geomtry to craft these custom brick compositions.
So as explained above, there was no use of any of FontStruct's “Expert Mode” functions. This meant that the option to nudge, flip or rotate any of the bricks wasn't available. Now this changes everything in respect to building complex fonts, since in order to get all the bits and pieces of a letter such as: crossbars, intersections, curves and corners properly aligned requires, a precisly fitting composite brick to be tailor-made. In terms of the FontStruct limitations, this cause the physical properties of FontStruct's brick composition tool to be fundamental as to how much complexity and refinement can be put into it's letter geometry. In other words this is fundamental as to how well crafted the design is going to look in the end, since there is no option to further manicure shape or form other than from within those bounds of the adjacent 16-brick-array grid squares of a selection for composition.
I've choosen to design the alphabet concept in this “Bauhaus”-inspired geometric style, simply because of the simplicity this style has in terms of its basic pure geometric forms. The final result became this simple and bold looking small grif display type with a “3-bricks” Em-size only.
but it had some crucial compromises that had to be made due to FontStruct's design limitations. Not terrible, but not quite perfect either.
One very important byproduct from this limitations as were described above was a huge collection of very intuitive custom brick compositions that offer seemless alignement and perfect fits, basically an extensive set of custom bricks that work in a very similar fashion as FontStruct's default “Connect” bricks.
Bringing us to the main reason for 2022's version of this font.
STF_BLAUHAUS (Plus) was the font's second version, and most recent state that it sat in for the last year, up till this now. In this 2022 version of the of this font design modification the FontStruct editor's “Expert Mode” functionality was introduced into the design. Hoping to further manicure some of these compromised critical area's in an attempt to see what refinements could be implemented to revise the 2019's original version.
Now that the option to nudge, flip or rotate bricks was available, new more complex geometric shapes suddenly became possible. This sparked an explosion of new characters and additional alternative forms. Although now the FontStruct editor got vastly more versatile and potent, it remained strongly limited by that still present 1:1 brick size filter setting. Nevertheless, this made possible a very substantial update of the older font, and allowed many new shaping capabilities.
STF_VON NEUHAUS is the 3rd and final evolition to have come from my earlier FontStruct endeavours; STF_BLAUHAUS and STF_BLAUHAUS (Plus)
This version basically saw the transition from a font only using 1:1 brick size filter into a font at 2:2 brick size filter settings to unlock all power potential of the FontStruct editor's “Expert Mode” functions.
I could now write another eqyually as long body of text, explaining what's new in this final version or which other improvements were made, or say about it whatever the hell I want, but I figure that the picture becomes even more apparent when simply comparing the 3 fonts from old to new, and see the evolution happening before your eyes.
Start with STF_BLAUHAUS, folowed by STF_BLAUHAUS (Plus), and witness the full glory of "next-level" FontStructing that made possible the last version STF_VON NEUHAUS.
I hope you like it,
Cheers
This is a clone of STF_BLAUHAUS (Plus)Happy Hollydays! Inspired by elmoyenique's colours
====[ EDUCATIVE INTRO ]====
At a time when making books was a very time-consuming and labor-intensive process, an increasingly literate 12th-century Europe required more and more books. To keep up with the increasing demand for the spread of literature was a ongoing struggle. Writing materials such as inks, dyes and parchment were very expensive. And it wasn't until the 15th century, when parchment was largely replaced by paper, along with the arrival of the printing press, for it to gradually became cheaper, faster and less labor-intensive.
So it made perfect sense to find other ways to help with this process.
Simplifying a script and cutting back on the decorative calligraphy was the most effective way of doing this.
This led to the development of simplified variations to pre-existing bookhand scripts. One of such forms is littera textualis, categorizing within the Textualis/Textura or simply Gothic bookhand scripts group.
Littera textualis is the simplest and least calligraphic form of textualis. It was developed with just two main goals in mind, to save time and costs. The simplified letterforms could be written much quicker than the more calligraphic and luxurious variations. It offered a more cost effective and faster version to the script. It was often used for less important literary works and academic papers.
It functioned as the standard bookhand script in the Netherlands during the 14th & 15th centuries.
====[ ABOUT THIS FONT ]====
TEXTUALIS BATAVICUM - A calligraphic inspired Blackletter/Gothic bookhand script. Essentially a Textualis/Textura inspired work.
The design mainly follows the concept for a traditional form of littera textualis bookhand script as was described in the intro written above.
It remains a work in progress and I will add update info for this font in the comment section bellow.
Some character still need slight adjustments, but so far I am very pleased with the result. As you can probably notice, the uppercase characters have slight more weight than the lowercase has.
More characters follow soon.
I hope y'all like it
An italic version of the fontstruct logo and Structurosa by pauldhunt, using composte bricks and nudging.
Isometric 3D outline style typeface.
The glyph have a exact copy slighly elevated and to the right of its original which I then connected with eachother to create the box-like three-dimensional idea.
Because of some serious design difficulties it remains far from complete, but I am kind of done with it for now due to this. For now only support for uppercase, no numerals and very limited punctuations. I think I fully kerned it, or at least everything that is important. On last thing I need to mention, the smallest open spaces doesn't allow this font to work in very small size. These will look filled at smaller point size.
I'm not sure if I will ever try another attempt to finish it at a later stage. (who will tell..) ;)
But I think what I've got so far is too cool for not publishing it. So for now it would do just fine as a logotype or for a decorative usage but not much else.
Enjoy!
This is a cloneSTF_THUNDERDOME - A tall thin stroked Art Deco typeface.
I tried to create pretty simple, elegant but somewhat wonky geometric letterforms.
Inspired by the later 70's Art Deco Streamline period.
--------------------------------------------------------
This remains a WIP, many of the glyphs in the Extended-Latin set aren't reflecting their Basic-Latin counter-parts. The character set remains far from complete for now, and many changes need to be made still.
Kerning done only for a few pairs and overall balance therefor is still quite poor I guess.
Some 'more' detailed but derailed towards the end 'in-depth' recap of this font could be found bellow in the comment section.
Stay tuned for more,
Peace!
This is a cloneOpening Day of Doctor Strange in the Multiverse of Madness! Love the cinematic multiverses, including Everything, Everywhere, All At Once! This is a Multidimensional color font that expands through every reality. Enjoy!
This font has been almost 3 years in the making. Mostly because how tedius it was to keep copying the same "bricks" over and over. I'm glad it is finished enough to share. I may or may not (most likely) add more glyphs later.