STF_LIQUID DISCO  (Solid)

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by Sed4tives

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STF_LIQUID DISCO (Solid) - Sollid filled style variation on:

Liquid Disco (Outline)

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The "Heavy Competition" was the perfect excuse to finaly blow some new life in this older project.

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This font family is a funky looking display sans. The original outline version was inspired by music advertisement and psychedelic arts.

This follows up on the first version with a rock solid filled glyph.

I hope you like it, cheers!

10 Comments

Comment by Sed4tives Fri, 10th june
Comment by Sed4tives Fri, 10th june

Nice last "60s style" sample.

Comment by elmoyenique Fri, 10th june

A little inside fact about this font btw. was that in the original outline design I did these dots center aligned  in the top and bottoms of its counters, wich was one of its main key design features. This was easy to do with just default bricks from the pallet. Since there will be no discontinuations in any of its features when 2 bricks overlap and complete a whole.

When I choose to do this reversed filled version I found out there was no way of mimic this from the default brick pallet without having a discontinuation in the stroke endings where the dots are located that make up a full counter. I was dumbstruck by how hard it turned out to be getting these close to be perfect circular, even with the help of composite bricks. And in the end I had to settle for this none perfect close estimate of a circular dot.

If anyone is interrested in how I designed the little dots in the counters I will post a image in the comment section.

Comment by Sed4tives Fri, 10th june
Comment by Sed4tives Fri, 10th june

Good solution. I've tried to approach the design of the internal circle in this way (B).

Comment by elmoyenique Fri, 10th june

I can't believe another came back! Also, that lowercase F is top-notch.

Comment by Hensley Dodson (Hensilly) Fri, 10th june

Thanks guys!

@elmoyenique: Damn you, great approach, much closer than mine!

So now I was in for a little competition and had to try coming up with yet another solution for the approach to see if I could possibly be doing even better!

And I think I did, lol (oops) =)

But I'm not yet sure about changing the font again in order to use this new solution.

The glyphs in the end got constructed in a pretty messy and random fashion.

I copied/re-used many segments that were then subjected to rotations/nudging and patching gaps. So any logic within the assembled brick configuration has long been gone. Updating the font will probably result in reconstructing most glyphs from the ground up (argh).

The cool thing about my new solution is that it contains all composite and brick overlays within the local group of 2x2 square grid units.

Not requiring any nudging or patching of any newly created gaps in the surrounding grid for this local group.

So I will definetly going to save this new solution in one of my prebuilt fontstruct templates to use another time!

Here is a image that shows my new solution for the approach of the negative circle brick!

Comment by Sed4tives Sat, 11th june

Another thing I should explain is:

The Lowercase letter 't' was designed to right side colide with its adjacing glyphs on purpose and has metrics to fit this parameter to a further extend throughout the font.
I know some hardcore typographic purists are not going to like this decision. But this is done for certain important technical reasons, and has a obvious aesthetical reason as well.
(Don't like this u can always decide to just manually increase letterspacing in your type tool.)

Let me enlight this with some tech-inside about this font.
I did this to maintain equal letterspacing of 0.5 grid units. This number keeps coming back in various choosen design parameters throughout, making this a relative important value for the overall aesthetics of the enite work.

The roots for this value trace back to the 0.5 grid units used for the stroke weight of the Outline version. And, since strokes make up for 99.9% of all the components that distinguish each individual letter's typographic anatomy, for this reason the value somewhat gained significance.
One of the key features for the first version are its connected glyphs, and they do so by way of overlapping outlines. What this also meant in technical terms, due to its connected nature this automatically became the value for individual letterspacing. And since that first Outlined version could be considered as the Regular style for the font family, this value found its way into this Solid version's design too.
The same value's were used for the counters and all other incisions.

Bringing all this back into a nutshell, in a certain way the amount of negative space (white space) became a overall key component for this font's design and visual appeal!

“ So much info, but, at least now u know  'why?' ”  

;-)

Comment by Sed4tives Sat, 11th june

Wow! Much more realistic solution, 99% on it! Great work. Thanks a lot for sharing all this personal creative process, pal. =)))

Comment by elmoyenique Sat, 11th june

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