WOLKENKRABBERS — Condensed streamline Art Deco style lettering
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Enjoy!

STF_DECOBAU — Bauhaus got Art-Decoized
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This is probably what would've been if one was to ask Herbert Bayer to design an Art-Deco style typeface.

Who doesn't like to kick-off the start of this New Year with a freshly lettered breakfast, and celebrate the arrival of 2025 extra stylish…
—Lets say in a Retro fashion!?!

Here is yet another of my blind leaps in-at-deep-end in the Bauhaus—pool. For this one in particular I have Art-Decoed  the living sh*t outta Bayer's defenceless innocent little baby child Universal —"Boii was I lucky that the world was too damn p4rty-h4rdy last night, bussy celebrating New Years eve. Cuz I gotta tell u this folks, she was screaming at the top of her lungs"  #nobodycame2rescue

The font is obviously not your best pick for a large chunk of Body-copy text, and is best used solely for Display application purpose.

There is only a limited character set present, but thats alright, since the font has more of a "decorative" value anyway.
Due to the complex nature in these small grid glyphs the characters lack nearly all optical compensations typically seen. —So yeah, this time y'all have to settle with missing overshoots and such.

Kerning is a WIP,
So keep in mind that at this stage this remains very incomplete!

I hope y'all still like it,

Cheers

STF_WALDBAUER — Condensed modernist Bauhaus sans
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This is rather a heavily condensed sans that sits halfway between a Bauhaus and Art-Deco style lettering.

The low waist, tall x-height, long ascenders and deep descenders give this font a somewhat elegant appeal. The uppercase set is clearly Art-Deco inspired, whereas the lowercase set leans more towards a playful Bauhaus mondernist style. Several characters have filled enclosed parts or other exaggerated features as well as non-filled alternate forms.

The idea for this font was inspired and extracted from a 1930s poster ad by Pál Vince for luxury luggage company Waldbauer.

The FontStruction's x-height is 3,5×1 grid units, so its tiny!

I hope you like it,

Cheers

JS-SANS BEVEL (OUTLINE) — Geometric Sans-Serif
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Another font addition to the ever evolving and growing collection of revivals and inspired works called LETTERS OP MAAT, a project celebrating and trying to recreate the typographic contributions originally designed by Dutch graphic designer Jurriaan Schrofer.

This time I did a revival based on a sans-serif lettering concept Schrofer did in the late 1960s during his time with Mouton & Co..

The alphabet system was later featured on several book cover prints such as: "Marx and contemporary scientific thought"  from 1970, "Images of the world in the year 2001" from 1976, "Repro en Druk" (Weekblad van het Koninklijk Verbond van Grafische Ondernemingen) from 1981, and several more.

I decided to create a typeface family with two styles, SOLID & OUTLINE.

In addition to that I included an uppercase letterset, symbols and punctuation marks as well..

I hope you like it,

Interrested in more of my Jurriaan Schrofer recaps? Please take a look a my complete collection of Fontstructions tagged with STF-LETTERS OP MAAT for the full catalog of fonts I contributed to this project so far.

Cheers

JS-SANS BEVEL (SOLID) — Geometric Sans-Serif
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Another font addition to the ever evolving and growing collection of revivals and inspired works called LETTERS OP MAAT, a project celebrating and trying to recreate the typographic contributions originally designed by Dutch graphic designer Jurriaan Schrofer.

This time I did a revival based on a sans-serif lettering concept Schrofer did in the late 1960s during his time with Mouton & Co..

The alphabet system was later featured on several book cover prints such as: "Marx and contemporary scientific thought"  from 1970, "Images of the world in the year 2001" from 1976, "Repro en Druk" (Weekblad van het Koninklijk Verbond van Grafische Ondernemingen) from 1981, and several more.

I decided to create a typeface family with two styles, SOLID & OUTLINE.

In addition to that I included an uppercase letterset, symbols and punctuation marks as well..

I hope you like it,

Interrested in more of my Jurriaan Schrofer inspired? Please take a look a my complete collection of Fontstructions tagged with STF-LETTERS OP MAAT for the full catalog of fonts I contributed to this project so far.

Cheers

JS-SAVOIR GEOGRAPHIQUE ROUNDED (BOLD)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co., which was based in The Hague.

This is a bold weight rounded variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

JS-SAVOIR GEOGRAPHIQUE ROUNDED (MEDIUM)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co. which was based in The Hague.

This is a medium weight rounded variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

JS-SAVOIR GEOGRAPHIQUE ROUNDED (LIGHT)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofers for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co. which was based in The Hague.

This is a light weight rounded variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

JS-SAVOIR GEOGRAPHIQUE (MEDIUM)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co. which was based in The Hague.

This is a medium weight variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

JS-SAVOIR GEOGRAPHIQUE (LIGHT)
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A revival based on the lettering sketches and studies by Dutch graphic designer Jurriaan Schrofer for the book series 'Le Savoir Geographique' and 'Le Savoir Historique' (1971-1974) by Pierre Gourou during his time with Dutch publishing and printing company Mouton & Co. which was based in The Hague.

This is a light weight variation to the original work by Schrofer.

The following text embeds a collection of links that redirect to some additional background documentation on all the work Schrofer did for this book series.

More about Schrofer's other material. please visit the web page of the Wim Crouwel Institute,  which currently curates the entire Schrofer collection that was previously owned by NAGO (Dutch Archive for Graphic Designers Foundation).

Note that this additional info is in Dutch language only.

STF_OSC-WAVE CYCLES — Pixelated dingbat pictographs
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¶  Over the last two-and-a-half years or so I've excesively been working on this large DIY undertaking, and has been quietly in the making since. This is the development of a custom‒built 17-part hybrid analog/digital multi-synthesis engine and hardware controller.

¶  The main operating system (OS) architecture is assembled for Teensy 4.1 32-bit ARM‒based Cortex M7 (MCU — microcontroller unit). GUI interface is running a Library to control basic graphical functions for 128×64 multi-color LED‒backlit DOT matrix LCD display module. This specifically sets interface pixel grid to 128×64‒sized ratio. Important in understanding the area in which creative decisions are made — required for coding and performed size-check of elements of all screen elements, since pixel‒perfect, in this case is the norm.

¶  This is a set of pixelated dingbat pictographs, consisting of various waveform representations that illustrate periodic function cycles in signal processing, more specifically, sound-synthesis. Intended to supplement a collection of bitmap fonts that eventually will be designed.

¶  Adding multiple tailor-made bitmap fonts — specifically the number of size-interpolation steps for font‒scalability, the different style fonts and additional dingbat sets to further establish various identities of the different GUI-components for now, is one still in ongoing trial-and-error testing.

Cheers

LINEDANCE - Poorly segmented sans experimentation
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Not an LCD, segmented nonetheless.

I named it "Linedance" because the uppercase and lowercase letter incisions don't align. Hence the dumb reference to "dance", and as for "line", it refers to, well, y'all ain't THAT dumb, unlike that name I gave this.
So u probably get my point !  ..Or should I say "my line!" ? 

Anyway, I need some sleep soon, or I'll risk getting dumbed dat fap-up sum more...
#notanididiotalot

Cheers

ORIENTFAHRTEN (Pro) — Semi-connected script-style font design
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Losely based on the lettering that was seen on a 1929 poster design by German painter Ottomar Carl Joseph Anton (1895-1976) for the “Hamburg-Amerika Line”  * (click for image of the original poster)

Whereas the original (non-Pro)-version aimed at extracting that “stylistic essence” of the lettering, and made an attempt at extrapolating and restoring a full alphabet from the letters provided by the original poster.. And so, that basically became sort-of a font revival with a little extra's.

ORIENTFAHRTEN (Pro) then took this to a whole nother level.

This reformation wasn't guided by Ottomar's original poster-lettering, but rather a remodeling and amelioration of my initial work.
Many glyphs were fully re-invented, others only just partially improved.

In addition to this, many new things were introduced as well.

For example, the font was further ornated with various typographic elements and bits, reminiscent of calligraphic hand lettering.

Turning this into a much more attractive looking little novelty.

Also some “technical” restructuring of the Unicode character mapping, to creating more user-friendly text formatting properties.

Since it is a semi-connected script, certain characters were deliboratly disconnect and some weren't.

For example, the uppercase letters almost all disconnect, whereas the majority of lowercase letters will connect by default. A set of glyphs alternate forms was included that allow to break the 'connected' flow of a text.

These also function sort-of as “Contextual Substitutions”,  but without OpenType's automated glyph-stream lookup classes. Yet these do allow the manual control over word-endings and word-space situations. So when a default-glyph is followed by a white-space, a glyph-alternate form could than be selected to replace the default-character encoding and improve overall aesthetics and natural flow of text. These substitutions are located in the “Halfwidth and Fullwidth Forms” and “Private Use Area's” Unicode blocks. In addition to the default alphabet letters the font also includes numerous symbols and punctuation marks, as well as ligatures.

As for the “numberscomp” that is currently in progress:

This font was specially fitted with 5 different schemes for text figure arrangement.
 • Didot-(old style) non-lining (font default)
 • Traditional-(old style) non-lining
 • Clean-(modern) lining
 • Tradidotional-(old style) non-lining
 • Ornate-(modern) lining

— This does temporarily create a new problem for me though... As this would be my fourth submission to the competition, where a maximum of only three font submissions is allowed. Now, which of these previous entries am I going to eliminate?!

I hope you like it,

Cheers

My FontStruct 15th anniversary celebration mini font. (Previously unreleased).

MARTIAN AMBASSADOR — Future retro / Sci-Fi style
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A future retro style that reflects the social construct at the dawn of the Computer Age through the zeitgeist of that 70s and 80s aesthetic fashion, which was strongly influenced by things such as: space, computers, sci-fi and cyberpunk.

ANTI-QUE — Asian calligraphy inspired
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Anti-que features a romanized lettering concept that was designed to mimic the stylistic properties of Asian calligraphic characteristics.

COMIC NOUVEAU — Script inspired Art Nouveau style

This is my entry in the NumbersComp...

I'm sorry that it does not live up to my standard, but I simply don't have te time to be a contender this year. My entry is only because I know I would be mad with myself when I wouldn't submit at least "something.

Cheers, and good luck

BODINI BALWAUM (Regular) — Didone-style 18th century modern serif
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Dobini Balwaum (Regular) is a Didone, or modern, serif typefaces, inspired by the works of Bodoni, Didot and Walbaum.

This is the solid (or regular) style for the Dobini Balwaum typeface.
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In an attempt at getting that typical sophisticated look, the letters have been provided with a stylish mixture of various different designed Serif attributes. 

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═════] Type elements ]
Serifs
 • Foot—abrupt (unbracketed)  bilateral hairline
 • Spur—adnate (wedged)  unilateral reflexive
Terminals
 • ball/beak/barb/flag/ear/finial/tail  terminals & spurs
Apex
 • pointed cup

═════] Glyph alternate forms ]
Letters:
 • a & g—double- & single-storey "a" and loop-tail & fish-hook "g" sets
 • K k & R—curved & straight legged letter alternate sets
 • u & w—unilateral reflexive & bilateral hairline alternate spur sets
 • x—alternate asymmetrical lowercase letter
 • J & j—narrower glyphs alternates
 • t (2x)—stylistic alternates
 • s—alternate form with slight wider top section

═════] Text figures ]
 • (default) Old Style—(non-lining)
 • (alt 1) Modern—(lining)
 • (alt 2) "Didot" Old Style—(non-lining)

═════] Optical corrections ]
 • top/bottom curve overshoot
 • tapered transitions for shoulders & arc of stems
 • stroke-weight compensation for horizontals

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I hope you like it so far,

Cheers

DALLIANCE GROTESK — Geometric gothic grotesque

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Dalliance Grotesk is a solid sans-serif lettering concept that builds on the ‘core’-lettering concept of frongile's amazing work called Liaison Grotesk

Liaison is a renegade take on the gothic grotesque sans-serif style. A wonderful mix of early egyptian styles that get blended with subtle neo-grotesque hints, held firmly together by a rigid condensed geometric letter-backbone. The crude design of Liaison provides a very distinctive and unpolished appearance, that breaths a lot of visual character.
Its geometric quirkiness and rather irregular letter widths, just the slight imperfect overall lettering simply came together perfectly in frongile's original design. Making this a text-book example as for why back in the day this style became known as ‘Grotesque’.

Yes, Ugly.. Obnoxious.. and... ‘Always in your face’
— Exactly how we like them best...

Dalliance Grotesk is the result of harvesting some of that original soul personality as was seen in Liaison and borrows it for extrapolation into a different font.

While Dalliance tried to preserve much of the overall letter-backbone structures from the original source, its primary aim was, to push towards a more polished finishing touch.

Simplified letters that were stripped of most quirks and bits, keeping only their rough shape intact.
In addition, all curved letter-parts were fully re-build with smoother contours and more natural flowing curve transitions. The spurred top and bottom stroke-stops for the lower-case letters had been changed so that the top now slightly differ from the bottom spurs (different tapered angle). Also the top spurs all have been slightly lowered to make them sit a tad bit bellow the x-height of the font.  

Main modification revolved more or less around achieving cleaner overall text rendering and better optimization for body copy in small point sizes. In the process of getting there, I carefully adapted each glyph equipped fit, to appropriately accommodate all the ty(pro)graphic goodness one can possibly hope to pull out of a Fontstruct.

Smooth (near)-Bézier contour quality, optical compensating correction adjustments, such as overshoots, small vertical stressed contrast and improved stroke joints. Also the font's proportions for height to weight ratio has drastically changed.

— Utilizing sort-of an attenuate 'knockoff' to frongile's original concept for his Liaison Grotesk.

I would like to thank him for allowing me to harvest the basis of his lettering-concept and letting me re-use that as the stylistic back-bone in the creation of my own font.

FRUNTSTOCT UPPER — FontStruct logotype uppercase reinvention
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This second font is the next evolution in my take on the Fontstruct logo type.

Its an experimental approach towards the reinvention of its uppercase letters. The first one was a unicase minuscule that was aimed at creating an improved version of the original logo lettering concept. FRUNTSTOCT LOWER remained faithful to the original letters, whereas FRUNTSTOCT UPPER is a complete reimagining.

Motivation behind the complete overhaul came after checking out existing Structurosa entries by other Fontstruct members.

It became evident that only one or two members truly were able to build upon its original concept and could come up with a 'unique' and decent majuscule.

AT Archistruct Outline by Kassymkulov (aka Architaraz) being the clear winner in my opinion. — Which is a true masterpiece !!
Some others 'tried' to be original, and made an attempt at a personalized lettering, but couldn't solidify ideas into a consistent whole. But the majority simply copied rob's original design.

— For that reason I choose to take the alternative road and tried to come up with something new.

I hope you like it..

Cheers