ELEVATED (REWORK) - A large 3D outline display typeface design with shadow effect.
It's inspired by the lettering from a sketch by great Dutch graphical designer "Jurriaan Schrofer".
This is the long overdue shadow style variant which was requested by Goatmeal and elmoyenique. It has the diagonal shading lines included (as was also presented in the original sketch by Jurriaan Schrofer)
Due to the inexperience that I had in my early days of FontStructing and the lack of proper knowledge about raster scaling, I faced some serious issues regarding the correct size distribution. This had me unable to include the diagonal lines properly into that pre-existing font with them having equal seporation and white space througout the entire design.
So instead of making a clone of my previously published version "STF_ELEVATED" and include the shadow font variant into that family as a seporate FontStruction (like I did with most other style variations back then), I decided to rebuild the full font. Putting it all together into this single re-worked font version.
This re-work has some important differences compared to the previous version. The first one, another size to grid ratio which optimizes the size distribution for digital display as well as drastically reduces the overall glyph size (more accurate version forthcoming). Some extra characters were added to the set, making it a slightly more functional basic font.
The shadow effect is the default style for this font, this also includes all numerals, punctuation marks and other symbols that make up the full font, these occupy the uppercase. The bare outline style A-Z glyphs occupy the lowercase.
Schlanke Schöne is a tall condensed geometric sans serif typeface.
The idea behind this font was to experiment with making interresting letterforms, with fewest possible resources. In other words, fewest possible default core bricks, no filters and mostly without expert mode. The only expert mode funtion I did use was "stack" bricks to make a small number of resized compositions and composite sloped angles. The total amount of different bricks used in the font is 20.
The font design is a simple, fairly straight forward looking sans, but due to this the end result also is pretty legible and clean. I was able to get most of the features done within the design parameters, such include optical correction, diacritics, stylistic alternates and swash capitals.
Very simple, but playful fun...
The stylistic alternates and swash capitals have been stored in the "Halfwidth and Fullwifth Forms" unicode block.
Hope you like it,
A modern hairline sans style font.
design grid: 3,5 × 4,5 units
brick size filter: 2 × 2
stroke weight: 1/8
I tried to incorporate rounded letter parts and corners but this was very tricky to pull off with this thin stoke weight. The font works best at small size due to very small imperfctions.
I hope you like it nonetheless!This is a clone
Experimental endeavor into avant-garde, reversed-contrast inspired letterforms.
I will explain the font in more detail bellow in the comment section.
My take on those classic serif style stencil designs.
Initially I started this design as a all caps display style, the desicion for a lowercase came once the uppercase already had been completed, and I truly had a hard time making a good looking lowercase for this one.
Also it felt like kerning this style was much harder to see and get right than most other fonts I made.
There still remains a number of things I had rather seen different, like those numerals, but this is the best I could do for now, I hope you like it!
Ahh sadly due to repeatedly running into a corrupted font when I save newly made changes to it, it eventually catched up with me and tested the limit of my patience.
I have had to painstakingly restore the font 5 times already since I started it.
So I stopped including new characters as well as making new changes to its existing character set. (At least for now)
Too bad because I wouldve loved to see this truly getting finalized.
So at this stage there are still a number of characters that remain in rough condition, and had yet to be further optimized.
The main A-Z alphabet luckily already was close to how I invisioned it, but especially the numerals, symbols and accents still have some rough edges.
Now, forgetting all that, I still think it is not a bad font at all. Everything is there for most common Western-European languages, somewhat still making this a usable font that I shouldn't be keeping in private!
I hope that despite my bad luck this time, y'all still like it.
About this Font:
The idea was to make a classic Didone style display serif that is meant for making clean headline text similar to those often seen in older magazines or newspapers. I set out trying to design a semi-bold & slight expanded looking letterform with thin hairline serifs and strokes. I choose a large grid scale for the extra freedom in custom shaping this provides.
Technique I used in this design:
This font in particular I have experimented with working within a "(asymmetrical-) Grid Scale ratio" ( 1,5:1 ), so, changing only the value for the Horizontal grid scale. (This distorts the grid aspect ratio, and is a great way to discover and experiment with getting new forms and shapes).
The 1,5 : 1 ratio was specifically choosen to keep maths simple, in order to rebuild certain required bricks that build specific slope angles , such as a 45° (which is no longer possible to make from the FS default brick set when using asymmetric scale ratios, unless making composites).
But what this also does is opening up a totally new approach to making shapes, and..becoming quite a surprisingly easy shortcut to get unusual shapes or make variations on these, even with as little as just the rotation of the bricks/selection. (thanks to the distorted aspect ratio) :-).
This is a must try for those who are into large grid designs, fake curves or interrested in experimenting around a little.
Dotted sewing pattern style font, its pretty simple but I pulled some oddball kerning tricks and such to make it connect at certain letter combinations.
I will show a little of this in a sample image bellow.
A modernized geometric monoline gothic script design in progress.
Its a all caps design but with a double sized uppercase.
The style of design metrics made it tough to allign the punctuations so that they all fit both upper & lowercase strings, but I did it the best I could.
No numerals done yet, I might do them soon.
I hope you like it so farThis is a clone
A insular half-uncial or insular majuscule script style typeface project that is inspired by ancient celtic bookhand & manuscripts.
The project is aiming at solidifying a number of different insular script styles. The main goal is to create a single typeface that includes about everything required to replicate the decorative writing style seen in ancient celtic manuscripts.(except for the ornamental decoratives)
The font, though essentially a bi-linear or majuscule insular half-incial script, in reality is a combination of different styles and complementary lettersets. Each carefully designed for specific purpose.
For example, it includes a more decorative Anglo-Saxon-script capital letter, perfect for headline text or book bindings. These actually include a small number of short ascendin / descending letters, but it remains mainly a majuscule. Then there is a complete insular style lowercase set, but which resembles a more traditional style lowercase letterform. And instead of being proportional sized, these reflect the cap-height, remaining faithful to the bi-linear nature of the script.
Besides all that, there is a set of glyph-alternates for most of the Anglo-Saxon capitals, as well as numerous random stylistic glyph alternates scattered througout some other various unicode blocks. Providing more than enough options to make variations.
To top it all off, I started making a set of more decorative lombardic initial letters, perfect for decorating paragraphs.
(This remains a WIP for now, as I am still experimenting aound with different styles and bits to narrow down the right one that suits this total package)
I like how some of these characters turned out, but many are jiust ideas and not yet reached their definitive forms. But this set proved a lot more difficult than I had anticipated. So,
Any suggestions helping me to complete the full set are very much welcome..
The major recources and guidelines for the creation of this project mainly evolved around the two medieval celtic manuscripts:
"Book of kells" and "Liɴdisfarne Gospels"
It has grown quite a bit already so far, but remains a WIP.
So beware of very little overall polishing or kerning.
The overall design has quite some rough character, even more so with the insular lowercase set, that obviously was not aimed at smooth edges. Actually the oposite, sort of trying to replicate that rough look seen with many scribes from that era.
But I would love to hear your opinions (or suggestions for that matter) on the work so far. I can really use a little refreshing vibes for this at this point.
Another textualis style calligraphic blackletter / gothic script typeface.
Besides the Basic Latin character set this has a lot of special use characters and alternatives too, such as:
Ligatures, Superscript, lining (default) & oldstyled numeral forms (located in halfwidth), traditional medieval punctuation marks (located in private use). And there is even a complete, but slightly modified & smaller version of the alphabet located in the Halfwidth unicode block as well.
I hope you like it! :)
LOMBARDISM - A contemporary slighty simplified insular half uncial script style solely based on medieval Gaelic/Irish insular scripts.
A contemporary geometric grotesque with some advanced typographic features included.
Its packing not one, but three different styles into a single typeface. These are divided over the basic upper-/ lowercase and "Halfwidth and Fullwidth Forms" Unicode block.
It is a bold weight typeface that suits best for headlines, posters and display purpose.
See the provided sample image bellow for more detailed info on its various features.
I hope you like it!This is a clone
Humanist Gothic style Grotesque.
This was so much friggin work, and still I have only the basics of Larin characters. The amount of work I put into getting the stoke modulations and smooth edges right was unreal. I couldn't be more happy with it so far. I will add more characters to it soon.
What do you guys think so far? Suggestions or tips are more than appreciated.
Contemporary geometric gothic typeface.
The idea was to make a typeface design that would suit small point size body style typography.
The fontstruction is a faux Bezier style approach, this allowed me the most freedom in shaping the different letterforms and curves. Capital height is 36 bricks height.
Font sample is best viewed at 2x pixel size or above for a sharp result.
I hope you like it!
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)
Support for 34 languages:
Afrikaans, Albanian, Belarusian, Bosnian, Bulgarian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Greek, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Macedonian, Maltese, Norwegian, Polish, Portugese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Turkish, Zulu.
A semi connected script style font design. It is losely based in the lettering seen on a poster design by German designer/painter Ottomar Carl Joseph Anton. (image shown in comments)
I completed the full alphabet, I tried to incorporate the features from the provided letters the best I could while creating the remaining missing characters.
It is a semi connected script style lettering, so certain characters are deliboratly disconnect and some aren't. For example the Uppercase string is almost completelty disconnected, whereas most of the lowercase characters connect. This can also be seen in the original Ottomar poster.
For the lowercase characters that connect there has been made a alternative glyph that is disconnected and adjusted to make a more pleasing flow and better looking breaks. These are located in the Unicode Block “Halfwidth and Fullwidth Forms”.
It contains both proportional oldstyle (default) & lining numerals, which are located in the Unicode Block “Halfwidth and Fullwidth Forms” as well.
I hope you like it!
Somewhat of a accidental goofy future retro style font.
This initially started as a experiment into discovering new ways within small grid designs to gradually increase the radius of a small curve and find new transitions in their shape for making asymmetrical curvatures, all without compromising the smooth edges (2x2 for this one, with hairline stroke weight of 1/8th of a square grid unit). But, it quickly became a real font.
I have kept the variations for a number of eliptical shapes and curves I made so far in order to demonstrate what the goal for this was.
I hope you like it.
This is the upgraded version of my previously published NOBUNTU font. This version includes much more characters and symbols and many ligatures, as well as language support for most Latin languages.
It is a medium weight contemporary geometric gothic humanist sans-serif style design with rounded corners and smooth curves. All curves have a slight top & bottom overshoot. The basic Latin string, numerals and punctuation are fully kerned as well as the majority of important characters in the extended Latin string. But some still need a slight adjustment. (this will be happening in the following days.
The basic idea was inspired by the gentle round corners seen in the Ubuntu and other similar fonts. (But don't make any mistakes, it is most definetly a different font) ;)
So far I am very pleased with the clean and legible result.
Enjoy!This is a clone
WORK IN PROGRESS
This time I did a attempt to make a typical contemporary super rounded geometric grotesque typeface. Which is a very popular style for headline and display text. Although I tried to make a contemporary looking typeface, I kind of remained faithful to plain geometry. The design can be slightly compared with that of typefaces such as HAUS Sans, TT Norms and LL Circular (3 great commercial pro fonts that were made by some great other designers!)
One of the most important rules for this was to have near perfect circular letterforms in both upper and lowercase. (So to pull this off propperly it required a large grid faux Bezier approach.) Everything else just enfolded along the way. The design (obviously) geometric grotesque, but also has a neo-grotesque feel as well. The almost quirky looking letter widths give this a very strong early 1900s feel.
While many letters mostly have even stroke widths, upclose you'll notice some stroke width variation is going on after all. This to bring more conttract into certain area's.
It's still a work that is heavily in devellopment, and only the basic character design is completed for now. Next time I will get into its functionality such as multi-language support.
I hope you like it so far
Modern geometric sans-serif design, This is a updated version of the previously published STF_PIPER ALPHA. This version includes support for lowercase and all the other charaters are double checked plus modified where needed.
Enjoy!This is a clone
A little bit of a experiment in finding interresting letterforms in the most basic of geometric shapes and without the use of any complex fontstructing techniques. And the only expert mode feature used for this was making composite brick to get the different slants and stroke weights.
Bellow I will include some further in-depth info about this design.
But, I'm very pleased with the final result.
Sort of revival of the lettering that Jurriaan Schrofer designed back in 1957 for Dutch timber trader called "houthandel Rote".
The original sketch by Schrofer featured the text "standaard profielen" in all lowercase letters (I will post a image bellow)
Now, as far as I know this was all the characters Jurriaan designed for this project. The designs parameters in Jurriaans sketch doesn't allow a lot of freedom and remains unclear on how a character with crossing strokes like k or x wouldve been done. So its kind of a tricky one to extend easily, therefor I just captured its basic letterforms for now.