STF ELEGANZA (Tall) ― Contemporary geometric humanist sans
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A font style, that while simplified by old tradition, saw new light by modern sophistication.

It comes in a solid medium weight that is very suitable for body style text with good readability, but it does perfect clean headlines or ads as well.
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The goal was to make a clean but somewhat more contemporary and playful take on a 'Grotesque' sans-style.

In an attempt to break away from the traditional trend of Grotesque type designs which evolved more around pure geometric shapes and aim for perfect circular, triangular or square shaped letterforms, that in return give many of them a somewhat harsch and featureless mechanical appearance, I choose to try and achieve the opposite, aiming for a softer, friendlier and more humanized feeling instead.
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Dimensions: (in grid units)
X-Height:                   2 .625
Cap-Height:               3 .125
Em:                             3 .5

Brick Size filter:           2 : 2
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This is the 'Tall'-style in the 'ELEGANZA'typeface family. This version somewhat strays away from the other two variation instances. Whereas the other versions had a simplified look, this version aims for the oposite and has a much more rich and diverse typographic design. Countless subtle extra little details have been incorporated into the design. The tall and condensed style provides a luxurity look. The main purpose for this version was to provide another level of visual depth and flair into your layout.

Some of the main differences made in this 'Tall'-style are the more complex geometry, other X-Height to Cap-Height ratio, extra characters and the introduction of optical compensations.
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The other style variations can be found here:

ELEGANZA (Tight)
ELEGANZA (Therapy)

I hope you like it...

Initially made for NW & SW European members' languages this typeface has grown over time to include glyphs for most European languages. My friend Ray will be happy to see Welsh and my friend Johneen can write in Maori :)

Thanks to TCWhite I've found the 2E2E point to place my favourite punctuation/symbol correctly.

I've sent this to be rewiewed for Google Fonts. Having done so I'm stuck, I don't know how to proceed there: how can I get people to look at it, comment?!

Experimental 24-segment display or massive monochrome Mondrian matrix. Pixel compatible!

The thinking behind this one was that with incongruously sized segments arranged in the proper way, I would create a design which was effectively 5x5, but which accomodated more glyphs than 5x5 usually does. Negative space is incorporated into the structure of many glyphs, though not enough to classify this as an IVO design.

"Qualtron" is the name of an imaginary entity that a friend believed in - a being meant to represent the result of "a mathematical equation that can rule the universe". I didn't inquire further about it... :D

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Design Rules:

1. Segments can have interior length/width of 2 or 5.

2. The central 2x2 square must always remain open.

3. Square bricks and 90-degree angles only.

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Original size: 20.75pt (use multiples of this value for pixel perfection)

Oh yeah! it's finally completed.

FAKOS VARYTITAS - Futuristic Sci-Fi stencil design
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A Stencil letter with a rather unorthodox form.

The main concept is that of the Sci-Fi / Tech aesthetic. But the asymmetrics in its geometry, various custom build curves and incisions somewhat tune down the mechanical geometric tone of the letterforms, and introducing a slight more humanized touch to its rhythm. These non-traditional attributes making this more of a novel stencil typeface with a strong personality.

The typeface was inspired by space age tech.  Its a display style font that is perfect for when your project has to have that typical techy or futuristic aesthetic look. Its best used at large size, but it does work in smaller size format as well.

The font includes:
 • uppercase, lowercase & numerals
 • accented latin
 •diactritics
 • symbols & punctuation marks
 • ligatures
 • some glyph alternatives
 • ornamental decorative elements

All "lingual" characters are functional stencils, the only exceptions that aren't stenciled are the ornamental decorative symbols and dingbats.

Cheers

LITERA FACILIOR GOTI ― A 'Blackletter' script style with a twist
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Also known as Gothic script, Gothic Minuscule, or Textura, was a script used throughout Western Europe from approx. the 12th untill the 17th century.

This FontStruction was aimed at mimicing the aesthetic approach of a ― ‘Textura’ variant of the Gothic Minuscule script style, more accuratly refered to as ‘Littera Textualis’. This style is most characterized by its strong sturdy letterforms, with distinguishing sharp, straight and angular features as oposed to the other variations in this catagory.

In terms of authenticity to the original predecessing formal script family, my ‘Litera Facilior Goti’ didn't took a whole lot of care for authenticity. The idea was to take a more independent and experimental approach to shaping the letters and forms, so it wasn't necessarily inspired by any specific typeface in particular, it rather recycles certain characteristics of a ‘Textualis Quadrata’, but beyond those aspects of general guidelines it evolved on its own.

Some of the areas where the design tends to really stray away from the tradition is for example the serifs:

It's often that I have some trouble with the weight ratio distribution of serifs and such elements in simplified modular based geometric Blackletter fonts. In many of such designs they tend to have been left pretty static and equal in thickness throughout the full character set. Which I think is often either having some letters look clumsy or even weird, and generally speaking also often making them appear too thick.

So this was one of the things I had to try and adress, I experimented a little with the style and forms of the serifs. Eventually this resulted in multiple deviations in variety to mix and create a more dynamic distribution. similar to what was done in less formal scripts. Over time they became ever further simplified, letterforms that involved less reorientation of the pen, in pursuit of styles that were quicker to write.

But taken as a whole typeface I find that it is having this certain ‘random-ish’ characteristic that is simply working for the better of these particular style fonts.

I'm still working on improving its overall rhymes and reasons to a certain point that is acceptable, balanced and with enough consistency. But up to this stage I personally think that the concept worked out quite successfully so far. And that even despite the fact that its stripped down of most ornamental decorative calligraphic extravaganza, it still managed to capture a convincing portion of that ‘Medieval ’ looks and personal flavour.

But I think that in the end this became a pretty neat looking font and it would classify somewhere between a hybrid mix of simplified Blacklettering and a drunken man's ‘Textualis’.

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―  No filters used!

Cheers!

I expanded on my previous font, relaxing the rules on placement of segments.  I was then able to add uppercase letters, and enhanced the lower case letters where it was needed.  Still a WIP - converting the accents.

Version 1.5: Added Greek and made many refinements. Also came up with a new tilde design for all the glyphs that have one.

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By request, a casual art deco design.

Angas is a cool, bold and thick lettered display font. It will look stunning on any poster, flyer or print.

LEOPOLD 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

A stout, slab serif, large countered, heavy sided, pixel font.

A bold headline typeface.

LEOPOLD PRO (Sans-Regular) — Modern geometric condensed sans
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This is a minimalist, geometric sans serif font with medium contrast and a strong compressed look. The modern condensed forms make up an elegant and classy looking font.

The overall design is a mixture of contemporary design with antique inspired elements.

The other style can be found here:
LEOPOLD PRO (Serif-Regular)

Cheers

A futuristic, angular Blackletter. The lower case is inspired partially by an English Textualis design. Tannenberg Fett sort of inspired the uppercase. Full Latin, More Latin, and Extended Latin A sets. Alternate 'a's can be found in Extended Latin B. Performs quite well at small sizes, but recommended for display use.

Can be used as uppercase-only or combined of lowercase and uppercase