Inspired by my own city peculiar graffitti. Full latin support. ** 27/08/2014 update. Included full latin support for this one.

Suggestions welcome!

See more:

https://fontstruct.com/fontstructions/show/498959/zonora_eye_fs

This was a simple idea started from S and T. Most of the glyphs have two verticle strokes that are 4-bricke-wide and a 1-brick-wide area in the middle of the character. except I, L, S and T (actually a lot more). They are a bit different. Especially S, T and L. The whole characters are only 8 bricks wide. As I mentioned above, It's because the whole font started from these characters.

Straka the name came from last name of a person. The S and T reminds me of this person's last name. I like this last name although I don't even know him.

About the Latin extension, I have made only the glyphs that require no new design, just diacritics and already made letters. So I can pretend like hard-working on fonts but copy paste in reality. :P

Also, I made Arabic glyphs. Only isolated forms. Which I suppose won't be a comfortable experience to Arabic users. It's like every letter has crazy swashes but every letters are lightyears away from each other.(or is it?)

Credit me bcuz it took days and I gave it all to you for free. Unthankful hairless ape. :p

has it gone 2 far? hope it didn't hurt you.

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

This was a fun one to experiment with. A lot of fonts I've done here have been done with strict design rules. It's fun to break them once in a while.

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

This is a pixelated font containing the Latin alphabet, including many letters with diacritics and more obscure yet common Latin letters, roman numerals, punctuation, the Cyrillic alphabet, the Greek alphabet, the Hebrew alphabet, Japanese Katakana, Japanese Hiragana and the Georgian alphabet.

ETC Cingularis Sans V1.1 - A Retro-Futuristic Geometric Typeface

- Supports most European Languages

- Contains some stylistic alternates and ligatures, likely more to be added

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.

Tennessine: superheavy element of the periodic table named after the US state Tennessee. Symbol: Ts, atomic number: 117, atomic weight: 294. It is a radioactive element artificially produced by fusing berkelium and calcium atoms.

Fauxhaus — Geometric minimalist modernism sans-serif design
═══════════════════════════════════
[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
═══════════════════════════════════

[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