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.

VOLLE BUISJES — Geometric sans-serif style
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[ INTRODUCTION ]
This font had derived and materialized from my previous FontStruction called Buisjes, and had innitially been planned to be made into this “solid”-style instance that would've then were to be combined and included to the original master font. That idea was later canceled when I decided not to make this part of the “Buisjes”-typeface.
I still went on completed it though, but I was now simply treating it as this unrelated new font instead.
The original “outlined”-variant still stood testimony in this second stage of development, as it served as the global basic backbone for this. But, since it now no longer was bound by accurate representation I could start utilize more dynamic sculpting techniques and make minute adjustments that incnclude some optical corrections, as well as implementing a slight more polished looking geometry.

[ TECHNICAL BACKGROUND ]
I took a clone from “Buisjes” and started modifing it into this new solid style. What I basically did was utilizing the “brick swap”-method in the FS-editor to replace every brick inside the font's “My Bricks”-palette. By doing so, essentially converting the font one-brick-at-a-time into this 1 : 1 conversion of its source without making any additional changes to the actual glyph-contours.

After a while due to some undesirable result that came from replacing the original bricks the design took a different turn when I started realizing that making an exact 1 : 1  conversion into this solid style wouldn't generate the most desirable looking font. This new solid version that was rendered from the “brick swap”-process seemed to have several optical complications, that when compared to the original outline version, had quite the different effect on its physical properties as well as the aesthetic quality of the letterforms, and had far less visual appeal. These newly presented optical misfortune also had a direct negative effect on the font's legibility. In oder to gain a better understanding as to why it took a toll on legibility some additional thing needs to be explained first, to make sense of it all later. This explains in short the visual effect of added contrast that comes from that “bi-linear”-characteristic nature of the outline version, which employs so much more emphasis to the font's overall geometric properties of various form, and therefor to the contour shape of a glyph. In return this has a direct impact on the overall effectiveness of these forms.

The reduction of this additional contrast within the font's “positive vs. negative”-whitespace balance for the solid version results in a letterform that has a rather weak representation of its several typographic components as well as for each of the individual letter-parts that form a whole, which also help to distinguish one letter from another. In simple words this means that a solid style lacks a lot of that emphasis that is present in the the original outline version, and makes for a far less pleasant and effective font.

Another issue I had with the 1 : 1 identical conversion was the unanticipated but pretty drastic deterioration of its initial “wow”-factor in the solid version that was generated. No longer beneficiary from additional added value that came with a more “decorative”-characteristic that  is present within a outlined glyph contour. Also the “bi-linear”-nature of the outlined letters sort of gave the impression it was putting double the emphasis to the typographic parts and the geometric properties that make up each letterform. The rather squarish “box”-like characteristics of the lettering became much more evident in the solid glyph face. Shifting visual focus from the previously more ornate display attraction away towards this more “mechanical”-style that is this rather plain and somewhat shallow looking flat faced letter.

All of these were things that worked out just fine in the font's outlined version, but not so much in terms of a solid “filled”-like style.

Here are some of the things that cause trouble within an exact  1 : 1  conversion into solid bricks:

 • Enclosed typographic elements render much thicker than what is considered “acceptable”
(requires optical correction)  

 • Diacritics render too thick and often too big
(requires a complete re-design)  

 • Radius of FontStruct's default solid circle arc connection brick is too small
    ‣ Making a solid font constructed from these to look compressed
    ‣ Arc intersection point not sitting deep enough
 • Reduced emphasis in depth of geometric form
    ‣ Simple rather “feature-less” and “squarish”-looking geometry
(both requires numerous custom composite bricks in order to break-away from these constraints)

— The combination of the above in terms of the appropriate adjustments required to make optical corrections in order for it to have balanced proportions will have such significant impact to certain aspects of the physical presentation of the letterforms that they no longer share that seamless overlapping cohesion, and it couldn't really classify any longer as being this solid / filled style instance to the original master font.

That wasn't all (LOL) but yeah I'm done typing for now!

Hope you like it, more info follows..

Cheers

STF_EIN BERLINER - Condensed geometric sans-serif typeface.

Inspired by the lettering seen on a variety of different Dutch and German street signs.

The simple and clean geometric letterforms provide this typeface with a strong legibility in both display & body style text.

(grid size 3,5 × 7 at 2x2 brick size filter)

Enjoy

STF_DERBY - Condensed Geometric Neo-Grotesk sans.

The idea was to make a typeface design that would suit small point size body style typography.

■ Multilingual support (94 languages)
■ Partial kerning WIP (8694 Pairs and counting)

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The fontstruction is a Faux Bezier style approach, to allow the most freedom in shaping the different letterforms and curves.

Font sample is best viewed at 2x pixel size or above for a sharp result.

I hope you like it!

NO Kerning

In develiping...

A cap-font

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.

DIDUDE (Condensed) ― Contemporary Neo-classical "Didone" style serif
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The idea revolved around the basic concept for 'Didone'-style typefaces.
A genre characterized by modern unornamented standard letterforms, which was very popular for general-purpose printing during the 19th century. DIDUDE is by no means an attempt to embarge on a quest trying to deliver a conceptual overhaul of this genre. Its main goal was to achieve greater simplicity, without sacrificing that traditional neo-classical personality. Instead of leaning towards the typically more 'Humanist'-influenced style with distinct stroke modulations and proportional forms, geometry and symmetry were introduced to design this more simplified take on the traditional historical style. It has been crafted with a structural logic of its own.

"Less human, more geometry.."A fusion of geometry and neo-classical elements that blends the past with the present.
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Main distinctive features for DIDUDE (Condensed) are:
Tall and narrow letterforms with short unbracketed serifs, vertical orientation of weight axes with a strong contrast between thick and thin strokes, slightly squarish-shaped round characters and its emphasized business-like nature. So the majority of important characteristics that distinguish the neo-classical style have been incorporated.
Certain features that were implemented into DIDUDE's design are somewhat setting it apart from most other, more traditional typefaces in this genre, and most notable is the more relaxed contrast ratio that was choosen for this particular project.
Further personalizing touches were made to stroke endings and curve geometry, providing slight 'calligraphy'-inspired decorative variation with occasional spurs, breaks, curved finials and plain monolinear terminals.
Topping it all off with an ever so gentle height deviation that sparks a subtle rhythm to any line of text. Last but not least, most of the optical clunkiness was addressed and either corrected or compensated.

There is a large character set that includes a little bit of everything:
Basic latin character set, latin-1 supplement set, stylistic ligatures and glyph alternatives, punctuation marks, lining and non-lining text figures, roman numerals, (Partial) Greek and Cyrillic, also numerous non-lingual technical, mathematical and decorative stuff was included.

Only partially kerning for now and this remains a WIP.

Nonetheless, I hope y'all like it so far..
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Here is a link to the other font style in this typeface family:
STF DIDUDE (Regular)

Cheers

BOOTSHAUS — Geometric "Bauhaus"-inspired modernist sans
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Bootshaus is another endeavour into the Bauhaus realm of typography.  

Focus for this font lies mainly within it's broad choice of glyph alternate forms to select from for stylish texts or logos.

Much of the extra glyph alternative forms are loosely based on the lettering by Sascha Lobe for the Bauhaus-Archiv

Many more glyph alternative forms are planned to be included, stay tuned..

— WIP

Cheers!

VON NEUHAUS — Geometric “Bauhaus”-inspired style
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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 grid 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

I wanted to use the nudge feature on my Manuale typeface and soon discovered that I had to start all over again. Here's Manuale Neue Bold!

Lexip is pixel

EPOCH - Modern light-weight geometric display sans

───── 「 MEASURES 」
(in grid units)
X-Height:                       １
Cap-Height:                   ２
Descent:                         １
Optical  Corrections:       None
Stroke:                            １／８ ｔｈ
   
 4－Ｅｍ ／ ０.１２５ : １－Ｓｔｒｏｋｅ （０.１２５ ≍ １／８ ｔｈ）

― No filters used.

───── 「 SUMMARY 」
This is yet another deep dive into the very small and tiny quantum realm of FontStruct's small grid and light-weight stokes.
Unlike some of my previous endeavours into this dark corner of the FS-editor, which could have dizzying complexity in forms, this project for once didn't stress the sh....*t out of me by stretching the limits for my capabilities beyond what is still comfortable this time. Nor did it drain every last frigging bit of my knowledge or clever creative insight to pull it off.

On the contrary,
For once it remained largely a pretty straight forward and easy project in terms of forms and geometry. The absence for most of the 'bar-raising' features such as diagonal forms, rounded, transitions or stroke modulation made this 'FontStruction' that much more easy.

And when metaphorically breaking it down to the bare naked form and necessities, this design mainly consist of FS's (default)-brick set, resized modifications of those, combined with a set of stacked composites.

There a still a number of things I'd rather seen differently, and will see later attempts at making improvement, but taken in a broad perspective most of the included material so far look pretty fine to me already. And to point out one of the things that is still bugging actually are the 'accented' letters.
Some glyphs have odd values for their 'character'-width, and this makes it impossible to achieve 'grid to em-square'-bounding box allignement in FS's editor. So accents in these asymmetrical values look slightly ofset.

― "Changing character widths to nearest even value is simply far too destructive to the stylish characteristics of the fonts appearance"

───── 「 ABOUT  THE FONT 」
In the end it became a pretty cool looking light-weight geometric modernist sans-serif style that at the same time has strong hints of Art-Deco-style lettering as well.

And apart from the minor things it fell short with, I think there is a lot about its overall character-set design and forms that is looking pretty darn rad actually if you ask me.

Content-wise the font is a single case design in a 'all-caps' or Majuscule style. The (Lc)-string was kept empty for deliberately for the technical reason of preserving all the (default)-blank metrics data for any further design updates.

───── 「 WHATS INSIDE 」

A little bit of everything...
 
■ Body text formatting:
    □ Basic-Latin based character set with accented letters & numerals
    □ Most punctuation marks
    □ Numerous symbols

■ Decorative formatting
    □ Pictorial attributes
    □ Repeating patterns

───── 「 THE END 」

Let me know what you think so far,

Cheers

A logotype for retro-tech hardware inspired by Roc Mitchell's Corporate phototype series (aka Limited/Limited View and Logos/LogoStyle) from the 1970's. Free for personal use only. Alternate characters list: @ - P * - J # - L < - A > - t ^ - e { - F } - R ~ - K © - g ® - D § - S ¤ - E ‹ - A › - A ¹ - A ¼ - 4 ½ - m ¾ - w ² - V ³ - V ª - a « - p » - q † - f

Ever seen a Z like that?

a rounded unicase font... inspired by a logo...

may 2022: added latin extended, greek, (european) cyrillic letters. please tell me if i made a mistake there.

Moto Verse is a bold, thick lettered and futuristic display font. It works incredibly well on logos, branding or pretty much anything that requires a modern vibe.

Fauxhaus — Geometric minimalist modernism sans-serif design
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[INSPIRATION]
As the name already suggests, this indeed was inspired by the Bauhaus-typograpy towards functionality style.

More specifically by Austrian artistic polymath Herbert Bayer's 1925 experimental "Universal" alphabet.
The alphabet he designed became somewhat synonymous with the school's identity, and probably is the most well known Bauhaus typeface, and truly epitomizing that typical simplified "Form follows function" Bauhaus-minimalism style. It was also used for the new Bauhaus-building signage.

Some key features in Bayer's original form are those easily recognizable geometric sans-serif letterings, with letter composition based on strong basic geometry, having eliminated all decorative elements of the letterform composition for that crisp industrial, slight mechanical minimalist aesthetic. Bayer's original Universal alphabet also eliminated the need for a upper case letter, further simplifying it towards more of a functionality-driven standardization. Bayer developed multiple revisions and variations of the alphabet. Sadly Universal was never cast as a font, as during that era they weren't manufactured into printing typefaces, and the designs would only exist as drafts (as was the case with all Bauhaus-typefaces). Nonetheless it served as a lettering model for Bauhaus students, colleagues, and followers alike, and they were regularly re-used for signs, book covers and publications by many of its members, but even beyond institution walls the typographic style began to gain a foothold. Throughout the years we have seen a multitude of revivals and other Bauhaus-inspired typeface designs. Some of which that try to be faithful digitizations of the original, whereas others taking a more artistic approach to the style by providing their own personalized reinterpretation of the Bauhaus-aesthetic. So even to this day, many decades later, it repeatedly continues to inspire and influence designers time and again.

Bayer, First a student and later junior master of the printing workshop, was one of Bauhaus’s most influential attendees, advocating the integration of all arts throughout his career. Though not trained as a typographer, he was also assigned with the task of creating a universal visual & typographic identity for the school.—a task Bayer took very serious.Sparking perhaps the most mythic typeface to ever come out of the Bauhaus, which is "Universal"—one that at that time strove to be as idealistic as the school itself
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[THE "FAUXHAUS" FONT]
This is an artistic reinterpretation of Bayer's "Universal" alphabet.

Aiming to preserve the unmistakable style and simplistic geometric stylistic properties of the original, while in the same time allowing a more 'free-form'-approach towards crafting the letterform compositions. This of-course as long as they remains in-line with the stylistic properties of the original. And for the lack of having a better explanation;

—To do sort-of a 'faithfully different' artist depiction of Bayer's original Universal alphabet.

Some notable differences made in Fauxhaus compared to Universal are the re-introduction of a upper case form and the slight de-simplification and inclusion of subtle decorative nuance.

In some cases I've choosen to compose certain specific characters to be more or less identical as to how Bayer originally intended them, whereas others may be entirely different looking. And for some characters have one or more alternative form as well. Some of which are more 'ad hoc'- compositions drawn as we went when new ideas popped up. But others were specifically created to preserve and / -or include certain distinctive and unmistakably identifiable letterforms from Bayer's original Universal alphabet.

Greek & Cyrillic characters included in Fauxhaus were solely added for my personal experimentation purpose only, and they serve 'zero' function as to additional language support of the font.

"Use at your very own risk"— as these could very easily be gone the very next update.

Each letterform was meticulously composed from a random collection of the various memories, which after some thirty Bauhaus-inspired and / -or -revival works including their respective 'shared' research I have accumulated over time for Bauhaus typography like Bayer's work.
No source reference image was used as guidance for creating this FontStruction, everything came straight from the knowledge I gathered from the many previous Bauhaus related projects I did.
So to draw solely from memory alone somewhat a convincing and reasonably similar personal reinterpretation of an original 'Bauhaus' typeface at this stage has gotten pretty easy for me.

For this project in particular I've choosen to construct the letterforms on a medium sized grid, using the linear interpolation 'faux'-Bézier method. So beware that when using this font at very large point size rendering the remnants of this process will become visible!

That's all for now, I hope you like it so far,

Cheers

ALIEN WORMHOLE (BOLD) - Monolinear Sci-Fi-inspired 'worm' typeface.
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This is a 'Bold' style version to the "ALIEN WORMHOLE" type family.

This version has a ton of extra character compared to the 'Light' version.  
For now only the two 'Basic Latin' sets, some symbols and a small number of puctuation marks match. And it remains to be seen if I can translate back to the Light version all those extra's that were put into this Bold version.
I mentioned 'type family' earlier, but in reality there isn't a whole lot of family just yet. Since the two for now hardly correlate truly.
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Here is a link to the 'Light' version
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Stay tuned for future updates.

Cheers