Many new glyph alternative forms added and a lot refined as well, more still to come..

Besides that I've also included more kerning pairs!

Cheers

#Elmoyenique: Nope, they wouldn't..

It also basically took me about 5 years to make my GF somewhat speak typography and understand its basic terminology.

@Ptles: Haa yeah I can imagine, my GF by now is able to detect really poor kerning on her own, but not yet at that point that it annoys her as it does to us! 😋

UPDATE: New characters added

@elmoyenique: Thank you so much my friend. It actually does. I'm working on a Bauhaus inspired type specimen / font collection / biography.

Obviously...

@BWM: Thanks

New update:

• Included 29 new additional glyph alternate forms.

— The font contains a total of 214 alternate forms. Most are letters, but there are some alternate punctuation marks included as well. Unlike the 'default' punctuation marks these alternative forms are specially fitted to suit the small capital letters and align with the font's x-height.

Oh and of course I forgot to mention the best of all...

The font comes with 3 sailing yachts and a nuclear detonation / mushroom cloud.. So, christmas came early this year my friends!

@Kiên Trung (trungdangTrung Kiên): Tbh, I think you're completely missing the point of theur purpose here, as simply a more thorough inspection of the font's character-set would've likely raised your aware of what in fact is going on..

yeah so, assuming these are alternative glyph forms, it shouldn't be too hard to state that the letter-alternates aim at a specific contextual implementation in stylistic text formatting. I wouldn't recommend them for large chunks of text. As in that case the font default letterforms are simply suppose to be used anyway.

Also, NOT trying to be rude here, BUT, it would greatly help to "AT LEAST" take some form of interest in a font as a whole, BEFORE making comments! 

— Well yeah, that was kind-of rude sounding init?

Nevertheless...

To clarify the character mapping a little further.. The reason for some of the glyph alternates that might resemble another letter, which had already been included within the “Unicode standard” are not located in their respected designated code-points, mainly is because these sets of alternative forms were arranged into 3 “contiguous” ranges of adjacent code-points.

One for uppercase letters (Private Use Area 1), one for lowercase letters (Private Use Area 2) and another for small capital letters (Halfwidth and Fullwidth Forms).

Mapping them to their actual respected code-point within the Unicode table would be very undesirable, and only scatter the many various glyph alternates, radomly all across multiple Unicode planes. Meaning, no dedicated sets, hence, making it a lot harder to locate and access all those glyph alternate forms to unlock the fonts full typographic power.

And in essence, this sort-of is a workaround for assigning simple “OpenType”-style (semi-) smart functionality into Fontstruct's basic compatibility towards Unicode character encoding. A font's internal structure can greatly improve its behavior. Things such as this character mapping system that I used to treat the font for example. This in particular facilitates more streamlined interoperation between the different variants. But also more easily allows additional modifications outside the realms of FontStruct, for example with another font editor.

Cheers

Okay, lets try and make this blow up even further, here is mine:

Brain Melting amounts of glyph alternatives.. FTW!!

#system-overload.error

@BWM: Yeah, this is somewhat over the top, I know, Even more so considering its a FontStruction.

As for Stylistic Sets,
While ss21 and above are not at the moment an official part of the OpenType specification, it is very likely that they’ll be made official at some point in the near future. Multiple programs already supports these stylistic sets, and it would therefore be beneficial to export these stylistic sets with names attached for use in those applications.

For example, I know that apart from some minor naming issues, Glyphs 3 already fully supports ss21-ss29, and with some ad hoc 'Feature' name workaround tricks, and some specific name code, ss30-ss99 can also export. However, ss30 and above will not export if given a 'Feature' name.

So the 'Glyphs' panel in your type tool will look like this:
ss19    Stylistic Set  19
ss20    Stylistic Set  20
ss21    ss22
ss2..    ...
ss99    ss99
...
And since for now this still remains a features that does not officially exist yet, so I wouldn't recommend using it, or should only at ones own risk.
═══════════════════════════════════
To quickly skip back to STF BOOTSHAUS for a second,

Technically speaking also this font doesn't nearly has 20 different 'Stylistic' alphabet sets, but rather many variants of individual glyphs instead. For that, there are the 'Character Variants'-features (cv01–cv99). You add all alternates for a letter (incl. related letters) in one feature like this:
sub a from [a.alt1 a.alt2 a.alt3 a.alt4]; sub aacute from [aacute.alt1 aacute.alt2 aacute.alt3 aacute.alt4];  and so on...

@Kiên Trung: Yeah, I feel as if I never really follow with most Asian humor, or what is considered funny out there.. My fault for being this old fart that has trouble keeping up with all the trendy dillio these days.

Still, your comment:

"Tbh, the three O look like three O-horns to me"

Sounds pretty straight forward "not really intended as to be funny" to me.. don't you think?

Always good to have the "Maëstro's" approval..

No I'm sorry. Handing out glyphs as is just doesn't feel very encouraging to me for pushing another persons creativity... I'd rather see one come up with a similar letter by themselves! Thanks for the appreciation in my work nonetheless. I hope this doesn't make you feel less appreciative of my future endeavors tho..

PS: I'm pretty sure when I see you try to make a similar letter (or whatver letter) and cannot get it to look right I will jump to the rescue. ;)

Cheers

@DECLANISREALLYTHEBEST:
FOR FONT END-USE:
I recommend to simply use your operating system (OS) character map.
For "Windows" press (Win+R), type in "charmap" and press "Enter"

Or use a desktop publisher (Adobe, Illustrator, InDesign) and use the "Type tool".

But since you ask this I doubt that you use any..

Cheers

@Kiên Trung (trungdangTrung Kiên): Why on earth would you recommend Font software such as Glyphs, FontLab or whatever Font design software for font end-use? I mean, I hope noone is planning on doing so, since that means making physical changes to the actual font itself, and that I don't allow and is in direct violation with the font license.

Besides that, to use a font for text composition one has absolutely zero benefit by using tools such as Glyphs or FontLab.

Weird advise pal...

Hmz I don't think he asked for that tbh, since than his question would've been "How do I make changes or modifications to the "alternative forms". In my "book", for font "end-use" you don't direct someone towards font design software. 😉

It isn't a matter of "different perspectives".

Other than a basic text editor box for testing fonts a "Font Design" application typically don't even have the full text formatting functionality that you will find in a desktop/text publisher like: Adobe, Illustrator, InDesign, Word or even Notepad etc.

I mean, I could agree that we would lay this to rest, when in fact, we would've ren into a disagreement due to different perspectives. But this isn't the case here, you simply try to teach someone something that isn't correct. What you find "whatever"-tool to come in handy doesn't mean it was meant for that sort of implementation. Its simple fact that Glyphs, FontLab and such are meant for font creation, not text composition, regardless of your opinion.

Don't try teaching people false or incorrect stuff in my comments please..

I mean, neither would you advise someone that is simply looking for a way to listen to music to use "music production" software, would you? You'd tell him to get a "media player"

Seriously? I mean I didn't meant to disrespect or attack you in such a way pal. Its not that I was trying to force my personal opinion onto someone. I ain't come here looking to correct people, or you in this case. Sorry if I had it felt that way.

But when you direct someone (end-user) to a tool that allows him to physically change my font, when he was just asking how to access alternative forms, I simply start to feel a slight discomfort in terms of vulnerability for plagiarism. 😉

@SUMMER701: Yeah well, I'd say enjoy it for a long time, since this is the reason I stopped sharing outline views of my glyphs, the blatant copying of someone's hard (and often difficult) work. I appreciate that you like my work, but you should be try to invent these letter solutions urself. The reason most of us share those outline views is not to have them being recreated, but rather to show the techniques involved, but I see you simply harvest glyphs from other fontstructions most of the time. I can not appreciate that a whole lot, I'm sorry!