DOBINI BALWAUM (Inline) — Didone-style 18th century modern serif
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Dobini Balwaum is a Didone, or modern, serif typefaces inspired by the works of Bodoni, Didot and Walbaum.
This font had been in the making for quite a long time as I ren into several design difficulties along the way. Most challenging parameter was the inline width. By default the width for the inline was set at 0.125 (or 1/8th) grid units.
Maintaining a constant width for the inline proved to be next to impossible. Therefor it evolves around a 'close' approximation of 0.125 units instead. Stroke weight for the letterform contours also proved to be somewhat of a constraining factor for the overall design concept. As it limits the ability to build complex geometry.
Due to the complexity in brick arrangements the font remains having some minor imperfections that I wasn't able to polish out so fat yet, and some may never will..
For now only Basic Latin letters, it remains a WIP
I hope you like it so far,
Cheers
Aa: Argentina, Australia
Bb: Brazil, Bangladesh
Cc: China, Canada
Dd: Germany, Denmark
Ee: Spain, Ethiopia
Ff: France, Finland
Gg: Greece, Ghana
Hh: Hungary, India
Ii: Italy, Indonesia
Jj: Japan, Jamaica
Kk: South Korea, Kenya
Ll: Latvia, Lithuania
Mm: Mexico, Malaysia
Nn: Norway, Netherlands
Oo: Oman, Austria
Pp: Poland, Pakistan
Qq: Qatar, Guatemala
Rr: Russia, Romania
Ss: Sudan, Saudi Arabia
Tt: Turkey, Thailand
Uu: United States, Ukraine
Vv: Venezuela, Vietnam
Ww: Belarus, Sweden
Xx: United Kingdom, Israel
Yy: Yemen, Iceland
Zz: Zambia, Zimbabwe
I will add more in the future...
Dredging another font from the long-lost depths. "Zastava" was my first font to be given a Top Pick, a not-so-subtle take on the Art Deco classic "Bifur." The naming convention for fonts at that time was translating random words into other languages and finding the "coolest" sounding one. "Zastava" being a Serbo-Croation/Slovene word for "flag/banner." This reinvention borrows from the old trend using another vexillology term, referring to the swallow tail design of the "K" and "M" among others. Please enjoy~
SPOKOYNOY NOCHI — 1920's Art-Deco style
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This is a simple monolinear Art-Deco unicase font. Upper & Lower case glyphs are the same sets. But in addition to the unicase (default style) there is a full alphabet of glyph alternate forms located in the Half Width And Full Width Forms Unicode block.
I done global kerning, but extra pairs are still required..
I hope you like it,
Cheers
STF GROOTESK Pro ― Contemporary geometric grotesque
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A clean and geometric grotesque sans-serif typeface that is equipped with tons of extended professional editorial typographic features,
such as:
Multilingual support in 3 script writing systems for 113 languages, glyph alternative forms, stylistic ligatures, accents and punctuation marks, symbols, technical, ordinal, pictographs, additional dingbats.
15164 stored kerning-pair and many other professional features!
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[ TECHNICAL ]
■ Metrics(in square grid units)
5.0-Em / 0.5-Stroke
2.0 : 2.0-Brick Size Filter
Em-Square: 5.0
Cap-Height: 3.25
X-Height: 2.0
Ascent: 0.875
Descent: 1.0
Overshoots: 2 × 0.0625 Top/Bottom - (uppercase only)
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■ [ ADDITIONAL EXTRA IMPORTANT RELEASE NOTES ]
Previously published as a (non-Pro)-version with the same name.
But when that version eventually corrupted, it rendered it useless.
And after several repair attempts the innitial isolated "FS-editor" native
brick corruption eventually was fixed! But from this point onward all theFontStruct-generated-*.TTF-files downloaded from this particular FontStruction delivered a broken TrueType-font file, that upon its installation process resulted in having a error. Leaving me, or anyone for that matter who had downloaded it, unable to get it or its updates installed.
So after unsuccesfull struggling for a while I noticed that the cloned version didn't generate a broken *.TTF-file. So I decided to terminated the original FontStruction and delete it.
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■ [ DESIGN INFORMATION ]
The main inspiration came from those early to mid-20th century geometric grotesques, and visual environment of that era.
Although the characters were mostly geometrically constructed, and remain as close as possible to basic geometry, "STF GROOTESK Pro" includes a blend of stylish hints of hand-crafted lettering influences and intentional irregularities in order to tribute those classical geometric designs.
For extra additional emphasis the design tries to take advantage of a rather unusual vertical Uc>Lc proportion, with ascender parts of the 'Lc' characters sitting well bellow the cap-height, making the 'Uc' appear strikingly taller in comparison. Essentially providing the uppercase with a more "Condensed" feel. Some of the other characteristics of the design are it's sturdy and stylish yet clean presence, with little to no contrast, and it comes in bold style only. But to compensate for the lack of extra weight versions there was some serious time invested into additional testing and optimizing the entire typeface. So it is super well mastered and therefor extremely versatile.
That being said..
Looks can be deceptive at quick first glance, and this indeed might appear as being a very basic looking design. Even though this in fact is far from being just that other basic looking display sans, nor your next boring geometric grotesque!
From a FontStructor-perspective point-of-view I recommend to take a more ‘close-up’ view of the design's finer details. This creates a better understanding and greater appreciation for the extreme level of complexity that is present in both form and function.
Zooming-in on some of the letters would reveal the font's subtle, yet nuanced diversity of that 'previously' hidden underlying personal characteristics that usually remain invisible in text format at smaller point size. Now suddenly just its overall care for finer detail and overall quality within every bit of the design, the tons of custom shaping, stroke transitions and additional smoothing will gradually emerge as zoom levels get ever deeper. At its deepest level it will even shed some light on the surgical stuff that mostly works invisibly and without the awareness of its reader.
A display typeface at it's core, still it performs equally great in very small body-print text or web design application, as it does too in larger format for headings, ads or branding.
Thus providing, this very function efficient and reliable work-horse,
a truly genuine "one style fits all" typeface powerhouse.
And there its no question whether this could hand out "a 'one-punch' K.O." of a Headliner, thats obvious. But this unyielding bumpy behemoth just as well takes u for the long run, effortlessly telling you fascinating stories.
Especially well cared for optimized rendering on a computer display device, and deliver simple yet versatile seemless digital typeset material.
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■ [ SPECIAL NOTE ]
A big thanks and 50% of the design credits for the lowercase 's' go out to elmoyenique
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■ [ "Pro" VERSION EXTRA'S ]
The new "Pro" version update for GROOTESK utilizes several TrueType smart-font features and control characters to map two or more glyphs for combining glyph composition.
SANS SERIFSCO — Humanist / Neo-Grotesque Sans-Serif
A contemporary neo-grotesque sans-serif design with regular weight.
I tried to add subtle diverse and nuanced visual elegance while still remaining minimalistic. Most significant feature is the subtle stroke modulations, distinguishing this from a more geometric style.
Designed to be versatile and suitable for a wide range of different purposes and optimized for legibility in small point size body copy.
The font was constructed on a large grid using linear interpolation (also known as faux-Bézier method). This allowed the most freedom for constructing more complex custom forms, curvatures and all the various stroke modulations.
The font has a total vertical height of 88 square grid units, this is including all optical compensations, ascends / descends and accents.
The heavy version of Capsaicin released back in 2020. Adding thickness wasn't that straightforward due to brick limitations. Alternate construction methods were implemented on the glyphs to create similar inktraps without sacrificing the innate qualities of the typeface.
I would like to continue working on it to make it more visually consistent, but I'll stop at this moment or else it might be a perpetual WIP.
I love these kinds of fonts that have geometric puzzle-solving quality in the design. I was quite happy with how the lowercase found a way to be connected. Then I thought let me not mess with anything else. But a Z is so much like a 2, so I created the 2 out of the Z. Then when 2 was done, I was aprehensive of tackling the 1 because the vertical stem would be off by one brick, and how would that be resolved. Reluctantly I tried it...and it worked. 3 can be created from the B, but the B hasn't been created yet. OK, I guess I have to do the uppercase. A was easy. B was surpringly easy. Which gave me motivation to go on. And surprisingly soon, the whole thing came together. The hardest letters to shape were X and S. Not all letters are very successful, but they are distinctive enough to be recognized as themselves. Not sure about the =, but it will do, I suppose. In any case, no kerning required.
ALIEN WORMHOLE (BOLD) - Monolinear Sci-Fi-inspired 'worm' typeface.
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This is a 'Bold' style version to the "ALIEN WORMHOLE" type family.
This version has a ton of extra character compared to the 'Light' version.
For now only the two 'Basic Latin' sets, some symbols and a small number of puctuation marks match. And it remains to be seen if I can translate back to the Light version all those extra's that were put into this Bold version.
I mentioned 'type family' earlier, but in reality there isn't a whole lot of family just yet. Since the two for now hardly correlate truly.
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Here is a link to the 'Light' version
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Stay tuned for future updates.
Cheers
Inspired by Bastard by Barnbrook Fonts and Minotur by cablecomputer
REWINDER - A bold and decorative "I don't have a clue" style font.
Alternative lowercase versions for (a, c, e, g, j, m, n, o, q, s, u, v, w, y, z)
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Usually I design fonts from a general concept I have in mind and start with the Latin alphabet first since I am most familiar with these characters. Then when I have completed these I start adding extra language support. letting everything evolve from there on out into the other languages such as Cyrillic or Greek. Doing it in this fashion I find myself having the best change of doing a decent job designing characters I am not familiar with the right way and in line with the design parameters.
This time I starten designing the Cyrillic alphabet first, trying not to think about the Latin set design at all. I did this in an attempt to have a neutral mindset that wasn't influenced in doing it a certain way.
And I must admit, this was the best and most comfi time I ever did a Cyrillic set. I experienced a sense of having a lot more freedom for creative output.
The result became this cool looking "hell knows" what kind of style letterforms. I have no clue if I actually did a decent and accurate job at the Cyrillic set, and I'm not sure where to go from here on out either.
I hope you like it so far
Cheers
G1 ThunderGawd. Opening day for Marvel's Thor Love and Thunder movie AND final day for the FS HeavyComp! Time to kill two birds with one stone, or maybe feed two birds with one scone.
HeavyComp entry #3. This font features...
• Microserifs
• 7 Color layers
• Chamfered Bevels
• Interconnected Celtic knot patterns with shaded underlayments
• Full weaving pattern on uppercase/numbers, vertical patterns on lowercase
• Thor's hammer Mjolinr on the +, broken hammer on the -
Can't wait to watch another film of Thor in the Taikaverse. Feels like I'm going to watch it about 50x, just like Thor Ragnarok.
Thanks to this competition, this font brought the challenge out of me. Believe it or not, this is the simplified version of what I wanted to make. Really nice set of submissions in quality and quantity from everyone for the Heavycomp.
Reference to a barbell. Use - to make a bar between disks. Uppercase is the left part and lowercase is the right part of the barbell. Ziltemir means barbell in my language. Used white colored layer to cover up some black spaces. Experiemntal work with some intersting potential
It's called Choices because this basic idea lead to numerous minor iterations that completely changed the character of the...er...characters. All the unused possibilites are now sitting dormant in another font. Perhaps they will become a full font (or three)...someday.
This is a cloneTennessine: superheavy element of the periodic table named after the US state Tennessee. Symbol: Ts, atomic number: 117, atomic weight: 294. It is a radioactive element artificially produced by fusing berkelium and calcium atoms.