It is finally done! It took me around 3 full days of design work and polishing.
The major character design part is about done, and I probably will only add some additional extra ligatures and special characters.
The design approach is a large grid Faux Bezier style to get the most out of custom shaping Top/bottom grid scale is a total of 71 bricks with ascenders and descenders included.
I have done a whole lot of finalizing background work already, and many pairs have been kerned already, but not everything was done yet, this is going to be completed within the next few days.
- Littera Textualis Emergo -
A formal Gothic minuscule that was inspired by Latin bookhand script, better known as 'Textualis'. This script was popular between the 12th & 16th century. Basically Those that would have been used for the main text of Latin books.
A more detailed description is has been written down in a sample image posted in the comment section bellow.
I hope y'all like it as much as I do.
CheersThis is a clone
BEST WISHES TO ALL OF THE FONTSTRUCT COMMUNITY,
HAVE A PROSPEROUS 2019!!
A simple geometric tile mosaïc design, and has only a very limited character set.
WIP! - A new experiment into handwriting fonts.
I was inspired to do a handwriting script font of my own after I saw the recently submitted couple here at fontstruct by ecluniverso. This member's work is very good and unique, check it out here: https://fontstruct.com/fontstructors/1376510/ecluniverso
The design concept for my font is handwriting with a broad-tip permanent marker.
I completed the LC string and numerals, plus some punctuations so far. UC (hopefully) coming soon.
Inspired by raster scanning & horizontal synchronization for image & video display.
Extrapolation of the lettering found on a 1976 calender by Wim Crouwel.
I know this has already been done before, here is one that was done by Wilson Thomas. Who did a far more extensivey version that also includes extended Latin. Check his version out here: https://fontstruct.com/fontstructions/show/795855/kalendar_1976
Apart from a couple of glyphs that were done notably different and some other tiny differences in detais the two are pretty similar, but most certainly not copied.
Extrapolation of the lettering found on a Dutch renovation brochure. I have no clue if it is a existing font or not. I only used the letters from the brochure as guide and did zero research on it's origin.
70's Art Deco style Streamline typeface.
Most of the design credits for this font should go to Isaiah Garcia since I took the liberty of revisiting his fontstruction FS Idea https://fontstruct.com/fontstructions/show/816176/fs_idea
Please check out this member's awesome contributions here: https://fontstruct.com/fontstructors/559832/isaiah_garcia
There is one major design difference between the two works though, Isaiah's version was made using a faux bezier approach (very labour intensive) and requires a fairly large design grid, whereas my version was made using a mix of macaroni bricks and resized composites of these, and was done on just a 4x7 grid using 2:2 filter.
This different approach led to a number of small changes in the overal design result. Also did I change some glyphs slightly to my personal preference. But it remains very much Isaiah's design.
Another less important difference is that I used some of the lowercase string for alternative glyphs allow a number of stylistic variations!
American frontier and western inspired display type.
Still needs a little bit of tweaking here and there. Also for some reason leading is not what it supose to be, it runs short a bit. But this is far from problematic.
Updated pro version for my previous font STOUTE VRIEDJES.
* Full support for both upper & lowercase characters.
* Optimized for more legible display at small point size.
* Overall ballance now much more consistent.
* Lowered the font's weight to make it look slightly less bold.
* Stroke width for all horizontals decreased by a small amount. In addition to this I also slightly increased the size of all the counters. This way giving the font a more open feel.
* As last in a attempt to overall make it look more aesthetically appealing various small changes have been made to the letterform approach & other specific small details as well.
Enjoy!This is a clone of STF_STOUTE VRIENDJES
Sort of a revival of the geometric letters seen on a 1916 Dutch litho to paper poster for Wm H. Müller & Co.'s Batavier-lijn passenger service Rotterdam-London. The Batavier Line was the oldest steam shipping line in the Netherlands. The line existed from 1830-1960.
The litho design was originally done by Bart van der Leck (1876 - 1958).
The fontstruction is a Faux Bezier approach, so the design grid was huge. Making it a lot of work and hard to ballance with the editors kerning feature.
I made a couple of small changes as compared to the original, most significant is the upscaled Ampersand.
I completed the alphabet plus numerals and some punctuations.
There are still a small number of spacing issues that needs to be solved.
More characters will follow soon.
Typeface design based on a typographic poster that is celebrating Wim Crouwel, and was designed by Matthew Lew.
Sort of revival of the retro sci-fi letters used by the Atlantic Toy Company for their "Galaxy Serie". A science fiction themed toy line that was manifactured from 1978 to the early 1980s.
I had to make a couple of compromises on some glyphs due to FS limitations, so the fontstruction isn't 100% accurate, but i'd say still very recognizable.
A pretty simple looking variable sans-serif design.
The font allows you to modify the width of nearly every glyph. The one exception that can not be changed is the exclamation mark. I tried to simplify it the best I could, but it remains a little tricky to use, sorry.
HOW TO USE:
To type any sensible text you should start with the uppercase of a certain letter (this will create the left side of it). Followed by the corresponding extender to widen the glyph (repeat this step for a even wider result), and to complete the full letter you close the string with the lowercase glyph for this specific letter (this will create the right side).
There are a couple of glyphs that work slightly different.
These are I,M,T,W,Y, numerals and some punctuations.
To widen "I and T" the extenders are typed before and after the actual letter combination instead of in between.
M,W and Y are split in three (center stem is isolated) in order to allow one to make changes on both sides. To correctly type one of these you start with the uppercase for this specific letter, followed by the corresponding extender, followed by the corresponding center stem, followed with the extender once more, and as last to complete the full letter close the string with the lowercase glyph for this specific letter.
To extend the colon and semi-colon you complete the string for either period or comma first, followed by ;(semi-colon). This will place a dot above it.
And as last, to make a underscore simply use the string for period but with extra extenders.
The numerals work as listed bellow:
The extenders are located in the following locations:
` - _ # = :
The isolated stems are located in the following locations:
Diamundi is a very simple but funny patterned decorative typeface design that mimics facets(flat faces on a geometric shape).
And for that everyone that is checking this, please make sure you zoom in max. to see whats really going on, Even beter, make sure you've seen the sample image bellow, because the Fontstruct preview is total garbage due to my use of composite bricks at this grids tiny size.
I tried to recreate the Braun GmbH logo type and make it a full font, I used only the five letters in the logo as a reference. Since there are a bunch of revivals out there already. I just did my own interpretation of it.
Argh, this was horrible to make .. well, getting it slightly balanced was a nightmare. The missing segments of the glyphs constantly caused my brain to correct what I was looking at by means of general logic and my knowledge about the way in which letter spacing usually works. This effect was worst with the letters T, U, Y. And I am convinced that it still contains the necessary disproportionate irregularities with regard to the metrics. I tried kerning it as best as I could. It has only uppercase letters, no numerals and very limited punctuations. I am not sure if I will ever complete this.
enjoy!This is a clone
A sans-serif typeface design that was inspired by Tessellation. I choose to do it on a pretty small grid similar to small bitmap fonts. This had me running into a couple of small difficulties with structing some of the glyphs (a,e,s,x and #) untill I finaly was satisfied with them. This since I don't have a great deal of knowledge about small grid bitmap fonts. Also I did quite a bit of tweaking back and forth with spacing, width and kerning before it really felt ballanced to me! Overall I tried to keep it very simple from a design technical point of view.
EnjoyThis is a clone
At first I started to struct the lettering seen on the book cover of:
"Tot elkaar veroordeeld 'De Nederlands-Duitse economische betrekking' (tussen 1945-1957)"by Martijn Lak.
But doing a little more research it turned out to be the 1988 geometric typeface "Senator" originally designed by Zuzana Licko.
I took the liberty of making sort of a replica.
I made a couple of small changes here and there trying to improve its overall look.
Based on the lettering seen on a Dutch poster from 1922 Which I think was originally designed by Dutch designer Bart van der Leck.
A display typeface that revisits the classic Randstad alphabet originally designed by Ben Bos in 1969 working at Total Design. Some changes have been made to a number of characters and letter spacing in order to improve the overal ballance and legibility. In other words, more a semi-recap rahter than a exact replica.
Recap of a retro computer type lettering that appeared throughout the 70's and 80's as the word "data" on various brochures, envelopes and memo's by Dutch multinational human resource consulting firm Randstad. Most of which I guess were designed by Ben Bos.