This font would definitely work well on a reflective LCD screen…

This is one of the coolest and refreshing segmented LCD designs I've ever stumbled upon!

Really precious fat numbers! I'm agree with @Sed4tives. My only "but" is how dificult is to convert these clock numbers in a usable font...

@Frodo: Thanks to you too mate.

Now, if this font that you are referring to was published prior of the competition, than this probably would be the Dobini Balwaum family.
I'm very happy with how those two instances turned out. Since the ‘In-lined’ variant was started with a lot of uncertainties initially. Especially since early on, there were some questions on whether it would, or would not be possible to pull-off in "Fontstruct".

Allow me to explain:

The letters have slight unconventional proportions in terms of anatomy. Stems are 37.5% of 1 square grid unit. Which at 2 × brick-size filter, is equal to 6-parts nudging (and 3-parts at 1 × brick-size filter).
So there wasn't this typical luxury of having a bunch of "run-of-the-mill" default stock bricks in ‘project’-compatible size available.
As would've been the case when like for example, working with the ‘Connection’- or ‘1/2-size’ bricks. For which the "Fs"-default stock brick palette provides more than a hand-full of options.
Also this more standardized unity of 0.5 for math-functions such as multiplication and division, isn't necessarily going to 'over’-complicate stuff.

Now, to have a unity of 0.375 as opposed to 0.5 as was described above, immediately becomes this whole other narrative.
No longer facilitating the convenience of that ‘IKEA’-style "pick-n-click" commodities that can be selected from Fontstruct's default brick sets in this particular (0.375) size. So, technically speaking, EVERY brick used in "Dobini Balwaum" is a custom modified composite. Also this unity of 0.375 certainly was going to complicate the font's underlying math. And it was quantifying these ‘raw’ asymmetric multivariate metric ratios and provide them a size-marker. In this case that would've been a fractional division that represents the multilateral sum-average of the font metrics, in an attempt to find an overlapping asymmetric ratio-interval. Henceforth, ratios of such particular structure require further calculus to find the periodic sequence within its fractional amounts of repeating units, which in terms form a pattern. From whom the sum of periodic intervals to complete one full cycle form this cross-compatible rational ratio, that can than seamlessly integrate with all metric aspects of the font.
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“Your LCD digits are great, too”

—Rather one that is fairly common though, and has been frequently used. My focal specifically was with implementing those softened and “rounded-off" segments.
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“I followed in your footsteps and documented my projects in detail”

—Well, yeah that's something I can appreciate a lot, since “9-out-of-10” Fontstructions do not include “in-depth” accounts that give a greater insight into the creative or technical process that went into it. Probably more often than not, I wonder what it could've been, that inspired something. Also, a brief overview into a font's background would be greatly appreciated (things like: inspiration, research or even a particular piece of specific knowledge).

Although having to admit that perhaps it isn't always as clear and obvious that ensures it will instantly be noticeable, but, I know for a fact, that often much of my additional “font documentation”-related content that revolves around most of my work, besides being there for my personal advertisement purpose means. Often also functions sort-of as these mini-lecture and quick crash-course collection into all things “Typographic”. That is useful for beginners and seasoned creators alike. Countless little “Scraps-'N-Bits” that are scattered, and sometimes hidden within and throughout my entire “Fontstruct”-portfolio. In a way, that is somewhat remotely reminiscent of digital ‘Easter egg’-type of hidden extra's and goodies. Covering a vast spectrum of various different “Typics” and related Subjects. And when was ever to be compiled together into this single large document, would most likely show closer resemblance to a “Type design Master-class” than it would still do to this primary means, that was to suit my self-promotion.
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This all would equally perfect fit within my ‘slight’ utopian imaginarium that is what would be the perfect geo-typographic community

That place where its people still enjoy that bit of dialog back and forth. As it is ultimately, that we all have to become stimulated in one-way-or-another, so that we could than become creative ourselves. And its here where we rely so much on others to be winding us up, put us in a general direction, and just let go!

Now, since we simply flow naturally towards the path of functional evolution, any new concepts aren't likely just randomly come into ‘being’ if ideas remain trapped inside you, me or (who)everybody.

All matter that is without motion, thus is therefor also without mass. Something that is without mass can not have form. To be without form is like being an expression with no meaning, or a concept that lacks a purpose. Working a compound with no particles means we are eternally destined to endlessly feed this SIN-GU-LA-RI-TY, until eventually we all but fail to see, that chemistry becomes displaced increasingly.

As for the time that all is not getting disturbed, then it is that we will find out, only our inventions will forever remain blurry.
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And, yeah, I talk/type waaay too awfully much, apoligies there!

How about incorporating Asymmetric orientation of the 4 corner sections. So to break away from the 2 symmetric configurations you have, as I believe I only spotted 4-part and 2-part symmetrical glyphs.

Some of which will allow for a slight better rendering of the letterform is tries to portray.

On my own, I have also been trying that asymmetric orientation that @Sed4tives proposes, but I have not found a way to make it work well for both 2, 3 and 5... when it works well for one, it looks very ugly for another and worse when they go in a row. It is an intriguing design problem.

Btw, 172801 seconds after what the clock shows will be my BD.

mine is 2-mar-26, so...

13 651 222 seconds to my ##th. b-day

I had to become somewhat invasive, and sort-of loosely Fontstructed a basic interpretation of your original work that would allow me to better craft that latest demo image. This way I could ensured that my thoughts on the above matter would transmit with a strong visual clarity. Please do not hate me cuz of this, as I assure you that I take the upmost respect towards your work, and I would never publish it of course.

@Frodo & @Sed4tives: It's a real pleasure to read your exchange of comments, my friends!

@meek: We've all been so absorbed in creating fonts for this Comp (and the very high number of entries proves it) that we've overlooked that next May 18th -the day in wich the announcement of the results will be published- it's not Tuesday but Saturday... unless the publicaation is on Tuesday the 28th.

@elmo. Well spotted! It should be Tuesday the 21st.

noooooooo i wanted it to be may 18th

Tuesday the 21st will be a fascinating day to live in FontStruct, I can bet on it!

@meek: Thanks for this pleasure days, Boss!

@meek: It would be great if the incorrect date for publishing Comp results could be corrected in the FS notices.

Ooops! You read my mind or I don`t read your post. Sorry Boss,

Seriously awesome.

Congratulations on this new TP, Maestro!

Just stopping by to download some of my old projects and I take a look at the new releases and this beautiful work pops up and it's from none other than the great Frodo7 from the early days os FS. I'm glad to see you around and keep scratching the font itch.
I would love to have one of those watches.

A true chunky font!

MAESTRO 

great!

Wow! I like @Sed4tives demo with the full alphabet. You've inspired me!

OOPS! Not full alphabet. Dont know what i am saying

(P.S. Change up your Z. Looks too much like the 2.)

looks fire yet fat, kinda like me tho