@CMunk: Thanks!

2x is so much closer to my original vision of Djangogh. Of course, I played up the insane use of fs 1.0 bricks on that one for crazy style. Composites allow for a much slicker, smoother, and ultimately more dynamic and pleasing result.

That cedilla took more than a few cycles to wrap my brain around – glad you dig it! @:^)

Good points, Nippa, and some very clever alternates. Thanks!

I just got back to my internet connection, so let me peruse these and try out some variations. Honestly, I tried only one previous T before publishing. I did not address the issue of rhythm as cunningly as your first very calligraphic suggestion – which some how manages to look less like an M while actually looking more like the M (love the extended ink trap you added to your second take on that idea) – but I did notice the problem and lamely attempted to address the same using an inverted W motif. I quickly discarded it and settled for the more sturdy and legible design.

A secondary problem with shrinking the gigantic beaks on the three-stroke wide original, it unbalances the massive color of this very fat face. It is an extreme solution, yes, but I find myself attracted to the distinctiveness of that feature, even if it is a wee bit dorky. Words containing multiple, and especially consecutive, Ts only increase the issue. I will investigate a compromise between the two that keeps the sideways flourish; for that I will need to tinker with the outlines. :)

The horizontally compact forms are delightful and are making me salivate to think about adding Greek and Cyrillics, as in the source material 2x was cloned from. I figured a two-stroke wide construction might help with all caps setting, and you ably demonstrated this.

Thank you, my friend, for the inspiration and the laser-focused critique! Your expertise and high standards of quality in typographic creation raise the bar for all of us.

@xenophilius: Thanks for waiting patiently for this fs 2.0 version. It did take me months to hone in on my approach, especially all the ink traps you mention. :)

@meek: Thanks for the top pick recognition! :)

@crispycracker: LOL :)

@laynecom: Thank you, I think it is the details that glue it all together.

@djnippa: Thank you again, friend, as I continue to investigate possibilities for the T and refine a few niggling details. In the days to come, I will get around to adding all the alternates you suggested, because they are just so cool and creative! :)

These three Ts are my top contenders for alternates, currently. @djnippa’s input remains invaluable in refining these selections. A variation of his second suggestion occupies the main T unicode slot, the † (option+t) holds my modified original, and the ¬ (option+l) holds a unicase two-stroker. What do you think, FSers? :)

P.S. Oh, and the alt &. Thank you, @xenophilius, for the deep appreciation. :D

@evolutionaustin: Thanks for the high praise, Thomas! You give my work a lot of cred by associating it with those widely regarded micro-foundries. Here’s some inspiration for me to get cracking on the non-latin character set. :)

I would love to see the results if you build any physical signage or art pieces with this here fontstruction!

So, I hereby give you limited permission to use Djangogh 2x in a commercial setting for Evolution Graphics (the only limit is the signage, art piece, or web use would need to be exclusively for your business). If a client of yours wants the font for their own commissioned signage, I would then be happy to work our a very reasonable licensing agreement. Thanks for respecting the CC non-commercial license.

P.S. Please be aware of the tiny notches that – due to the innovative, but imperfect, technique used here – are above and below most counter spaces. They are only noticeable at large scale, but could cause some hiccups when cutting out letters with your CNC Router. Easy enough to clean up in any vector editing software, sure – I would also happily prepare polished outlines for you in advance of a physical project. Cheers!

@ne: Thanks, my friend. Archly Gothic is one of my personal favorites amongst my stable of ’structions. I created it for the handmade comp, and felt deeply that it was a true dark-horse success. Very classic – trained true to the roots of the app – but totally innovative.

My point was to illuminate and highlight the handmade natures of the bricks themselves by working at such a tiny scale and including such a wide survey of calligraphic styles in the caps. And still birth a viable typography.

Yet the association was apparently too cerebral for it to even be included in the official judging results! Oh, well – I guess I am notorious for a reason. ;)

I did notice a problem with the preview widget loading a couple of my works in gallery view, but now it seems to have worked itself out. Thanks for your concern.

Hmm, someone switched their vote from a 10 to a 4. Interesting...

@p2pnut: Thanks for the commentary. You are a good friend. (Looking forward to sharing privately the suggestions I offered to give on one of your masterworks – when I can finish them up...)

I suspect it is not likely a Snap Judy troll. So, I will have to coin a new term. This one is a Snapping Turtle. ;)

The total number of votes hasn’t changed in a couple weeks. Could it be a UWE student who voted twice to reorder the rankings, could it be a “regular” who did the same, or could it be someone who fits neither description?

One thing is clear: the vote vacillation was endeavored with eel- or turtle-like torpor, waiting languorously for the big fish’s underbelly to come into view. LOL, actually, that tickles!

You see, I find this an interesting psychology: Voting full marks, returning to the decision with the sentiment that a FontStruction or FontStructor is overrated, and then revoting to distance oneself from the general consensus while making an entirely passive semi-statement.

I do not feel opposed to the action of it, actually. I have revoted myself, feeling like “I like all these ones, and yet this one is better than this one. So let’s shake things up with a new order. Keep things fresh!”

Eventually, 10s start to lose their meaning because there is no absolute scale of excellence. Many exquisite fontstructions get buried in the pack: one waste of a tasting bunch.

In times long past, I elected myself judge of the reordering for a day and found a disloyal but compelling art like the sequencing of a mix tape made entirely of pirated music.

This happened to my work previously, and yet it took me this time to meditate and muse on the other side of snap turtlism. I had to unwind any emotional trigger to the experience. What remains is laughter!

I can laugh about this and turn it – instead of a war wound or scar or badge of dishonor – into a humorous characterization. I laugh also at myself! :)