Elegant stencil serif. Capitals only. It is still a work in progress. This is my finest brickwork so far. I can't believe it took nearly two weeks to complete the 26 letters of the alphabet.

Thank you very much for your comments and generous ratings. I welcome all critiques and suggestions, and I will consider them seriously.

@Bryndan W. Meyerholt (BWM): It's a known artifact of the pixel preview. The nudged bricks appear to be grey. Also, the composite bricks are rendered incorrectly, resulting in jagged edges. 

@tortoiseshell: Thank you for your comment.

@Peter (Petruuccio): Your version of the N looks all right, minus the bottom-right serif. It may work well in a narrow version. The diagonal is too steep, resulting in a smaller letter width. The capital N is a tricky beast; one has to consider several interconnected parameters. 

@elmoyenique: You are right about the U. Normally, it is symmetrical. I spent two days building this letter alone. I even made a mirror image comparison, just like yours. I went through several versions, and the current one is still not good enough. A symmetric version would be too wide. However, an asymmetric design is acceptable for the U (see the stencil font below). I have to refine the inner contour on the left side.

This font follows the traditional design elements of Poster Bodoni and Stencil Bold. I spent a lot of time examining my letters (enlarged in preview mode), considering their proportions and how they fit together. I'm still unhappy with the J, Q, S, U, and W.

@Peter (Petruuccio): Thank you for your comment. I corrected the U. It's not perfect, but serviceable. I'm working on the J. It shares the same curve with the U on the thick side. On the thin part, the situation is delicate. There are nudged bricks and composites all over. I couldn't fix it in one go. I'm taking a break, and tomorrow, I will start with a fresh perspective.

Great news for aspiring fontstructors. Glyphs is an excellent tool for post-processing.

@Bryndan W. Meyerholt (BWM): The Glyphs app has been MacOS only since its inception. The M4 Mac Mini starts at $599. The 10-core CPU and the 10-core GPU have more than enough horsepower to make fonts. However, I agree with you. Most Apple computers are super expensive. I'm typing this comment on my 2015 MacBook Pro Retina. I bought it refurbished in 2017 and upgraded the SSD last year. I'm not sure I can afford a new one.

@elmoyenique: Thank you for the nice W. It's not bad, but it's still too wide. Prompted by your version, I built a new one similar to the W in the Stencil Bold sample. It is almost right. 

I've made the X slightly narrower. The old version is light blue, and the new one is magenta. 

Letter E in Fontstruct, apparently. Simple, straightforward design with whole bricks. No filters, no nudging.

@Sed4tives: Thank you for your comment. The rounded letters are more complicated. They have at least half a brick overshoots, many nudged parts, and custom-made composites. I'm happy with how they turned out. The next challenge is to rework the S.

@ Peter (Petruuccio): Thank you for your comment. That is the beauty of this art: shaping and refining the letters until they look flawless. The reference font is a fat Bodoni version. It is on both sides of your coin. Judging by the coat of arms, it must be from Czechoslovakia. Bodoni seems to be everywhere. I never realized that.

@Sed4tives: I am happy to discuss the small details with you, the undisputed expert in fine curves. The J is unfinished; I couldn't fix the tail section.  I have to make custom composites that match the outer curve while covering the gap caused by nudging. The S is good on its own but a bit narrow compared to other letters. The overshoot is too big, and the curves could be refined.

The old and the new letter S (left and right, respectively). I also refined the Z: the diagonal part is slightly steeper. The difference is hardly perceptible, but the proportions are better.

I further refined the contour of the S. The W has been completely rebuilt. It is only a couple of bricks wider than the M. I made minor improvements to the J and U.

@elmoyenique: Thank you for pointing out those imperfections. The truncated ends were a compromise of an early version. For consistency, I corrected the A, V, and W. Truncated ends are acceptable for stencil fonts, but all truncated ends should be uniform. Thanks again.

I very much appreciate your contributions. This is what Fontstruct was all about: bringing together like-minded font lovers and having fun in a fuzzy, warm atmosphere.

I shared my collection of custom bricks. Nothing prevents my fellow fontstructors, and I mean the beginners, from starting more complex works and having fine results. I have learned a tremendous amount of detail from this project alone.

Typeface design is iterative, like oil painting. Leonardo never finished the Mona Lisa. He brought it with him wherever he moved and kept working on it. Layers upon layers of small paint adjustments made that famous smile so mesmerizing. Sculpting marble is the opposite. Once you chiseled out a part, there is no going back. Sculptors usually start with a clay version. Working with clay is also iterative. Bits can be added or removed until you are happy with the shapes and curves.

I'm currently studying Frutiger's works. Santa brought me his book for Christmas because I behaved well all year (Adrian Frutiger Typefaces: The Complete Works, Third Edition, Birkhäuser Verlag, 2021). Usually, it took him years to design a typeface. His message to the young generation would be that it takes time and patience to create fine things that stand the test of time.

@elmoyenique: Your version is perfect. I tried to make this change (the letter at lowercase z), but the result was less than satisfactory. However, these joints of the Z are not the same as those of the N, M, V, and W. They are equivalent to joints of the E, F, L, and T. I stick to the old version. Thank you for your selfless effort in helping me. Happy New Year, dear Elmo!

@Bryndan W. Meyerholt (BWM): The ring above A. I totally forgot about making the cuts. Unfortunately, there is no way to cut through the ring, as there are multiple layers of overlapping shifted bricks. The whole thing would turn into a mess. I'll do it in the post-production. Happy New Year, Bryndan!

This is a screenshot of Google Trends from March 2024. The search term I typed in was Fontstruct. Who are the people in the far north, Svalbard/Spitzbergen, Norway, who are interested in Fontstruct? I'm just curious. There are probably more polar bears there than people. Building fonts could be a good solution against boredom in cold, dark afternoons.

The same probe on Google Trends was made today.