FontStruct Gallery Feed (All FontStructions, Sorted by Rating)

“Sans Vs Serif” by caljepps

Mon, 09 Nov 2009 18:08:20 +0000

Sans Vs Serif was done for my Graphic Design course. It is built around the idea of chaos and fuses characters from Georgia and Futura Italic, one sans-serif, one serif.

“ANSAR” by amirzack

Tue, 24 Nov 2009 18:43:36 +0000

“Blit Hack” by minimum

Sun, 27 Sep 2009 16:56:29 +0000

Absurd, I know...yet there are legible letters in the pile here...somewhere.

“Blit Slash” by minimum

Sun, 27 Sep 2009 16:56:20 +0000

Absurd, I know...yet there are legible letters in the pile here...somewhere.

“Sans Serious I” by afrojet

Mon, 23 Nov 2009 15:06:26 +0000

The ‘Sans Serious’ Series is a group of tribute typefaces meant to honor Dutch designer and typographer Jurriaan Schrofer. Along with Wim Crouwel and Josef Albers, Jurrian Schrofer (1926 - 1990) was among the Bauhaus pioneers of grid-based modular typography and design. Schrofer's work experimented with type, light, and color and focused on mathematical shapes and pattern. From the book ‘Dutch Type’ by Jan Middendorp: “Schrofer made several attempts to create complete typefaces - one of which was wittily called Sans serious - but this was never his goal. ‘Is it necessary’, he wrote, ‘to make complete alphabets with upper- and lowercase, figures, diacritics and seriously adorned with a name, when the aim is merely a formal investigation into basic recipes’ Schrofer's domain was never the design of typographic alphabets, to be used by other designers, but always the creation of letterforms ‘made to measure’ as part of his own designs of - mainly - book covers and postage stamps. He created a rectangular alphabet as the basic element of his ever-changing covers - each based of the same grid but colored differently - for a series of scientific books, ‘Les textes sociologiques’ from Mouton Publishers. He made sophisticated pixel-based letters, all drawn by hand, and experimented with photographic screens as a means of distinguishing simplified letterforms from the background. He created logotypes built from custom-made letterforms, based on rectangular grids.” “In his booklet ‘Letters op maat’ (‘Type made to measure’, 1987), Schrofer presented many of his experimental alphabets from the 1960s and '70s. The booklet was part of a series of goodwill publications edited by Wim Crouwel for Lecturis Printers, Eindhoven.” Read more from ‘Dutch Type’. Image from Letters op matt. More images of Jurriaan Schrofer's work on Flickr: Schrofer in Total Design book. Cover for European Journal of Social Psycology Museumjournaal, design Jurriaan Schrofer Die Internationale Avant-Garde Jurriaan Schrofer - Fodor catalog Note: for all fonts in the ‘Sans Serious’ Series, the alphabet is the same for upper and lowercase.

“Block02” by mguerrero

Thu, 19 Nov 2009 01:19:04 +0000

Block02 is the new experimental fontface by BlueTypo inspired in patterns and dotted typography, performs well in large sizes. The principal function is decorative but if you want to use it en large text, maybe nobody can read it. ; ) Download, test and share it.

“Modular Serif Text” by gferreira

Sat, 21 Nov 2009 14:57:27 +0000

An experimental modular roman typeface. Based on my own EZ13113A (Elementar bitmap font).

“modified” by ktmac

Thu, 20 Aug 2009 14:24:51 +0000

This was actually a typeface I developed in my experimental type class. I just discovered fontstruct so I thought I would convert this into an actual typeface instead of vector art. I don't know why there is a dot appearing above the "Z". It isn't in there in real life I swear. enjoy!

“Vibrating typeface” by kanu_jindal

Sun, 15 Nov 2009 18:34:14 +0000

The aim that i was heading for throughout developing my typeface was an energetic, moving and vibrating looking typeface with much expression within. To begin with, I used the hand-rendered approach for designing, I also experimented before creating my final typeface by moving hand-rendered letters on paper and photographing this movement. Experimental approaches before hand gave me a good feel for how I wanted my final typeface to look. I was inspired throughout my development by heat, light and power. These forms of energy all gave me determination because I hoped for a very energetic outcome! I feel that my final typeface shows energy and vibration which is what I had hoped for. This font is deficting vibrating energy.!

“Slink” by geneus1

Sun, 11 Oct 2009 20:14:41 +0000

A tribute to Josef Albers: inadvertently inspired by saberrider and afrojet. This font totally happened by accident. Recently, saberrider created steep, which uses a 2.0 x 1.11 filter setting to smoothly blend the quarter-circle bricks into the triangles. After saberrider created his experimental variable scale fontstruction, it lead me to revisit an abandoned work I did from last year that was done in a similar scale. After getting over the initial disgust of looking at the dismal failure, I started tweaking. Then I decided to tweak the letters instead. It became apparent that I could create a stencil type font that also looked like Josef Alber's font. Coincidentally, Saberrider also has a variation with fontstract, and of course, that Stewf guy has his own family of Leaflets. ;-) Afrojet's sessions came into play in creating some of the letter forms, especially the numerals. The final filter setting became 1.638 x 1.08, which created a nice fusion of the curved and triangular bricks, but was also naturally inclined to necessitate the vertical divide on each glyph. The rest flowed rather easily from there. Here's to more happy accidents. =) The sample is also a tribute to Alber's color theory, showing the names in identical colors, which, when juxtaposed over contrasting colors tricks the eye into thinking the bottom name is darker than the top. The following Josef Albers quote can relate to all things creative, like fontstructing, not just color: "It should be clear by now that our way of studying color does not start with the past - neither with works of the past nor with its theories. As we begin principally with the material, color itself, and its action and interaction as registered in our minds, we practice first and mainly a study of ourselves. Thus, we replace looking backward by looking first at ourselves and our surroundings, and replace retrospection with introspection." - Josef Albers