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 far yet, and some may never will..

For now only Basic Latin letters, it remains a WIP

I hope you like it so far,

Cheers

ColorComp entry, inspired by the Memphis art style. I started this originally a few years ago with several color variations (using the three main colors), but I couldn't decide which ones to go with, so this sat unfinished for a while. In the end I decided to go with this.

A fun challenge for a colorblind campfire aficionado such as myself. Thank goodness for hexcodes. Please enjoy~

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!

A modular colour font inspired by toy bricks and soft plastic textures, suggested to use in large sizes.

LORD KRUMBLE —A transitional sans that mixed Art-Deco with neo-classical humanist minuscules

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Inspired to celebrate the homecoming of him who strikes fear in all badly baked treats, the one which nightmares are made of, that kind of person that makes every cookie crumble and wanna skip school for a day or two. Of course I'm talking about the one and only "Cookielord".
— "What couldn't be better suiting than to have a freshly crafted and new font that is celebrating his return."

Him recently dropping a new FontStruction somewhat came as a pretty unexpected but nice surprise. It just so happened to be that I was already looking for new ideas that could lead to the next project. In fact, until recently I was actually still struggling with this, and hadn't really been able to provide a catchy and motivating design theme to bring to the table that would once again help me on my way with starting a new FontStruct project. So I took this occasion to see if I was able to find a little inspiration in his Verminfont. Not particularly aimed at doing a derivative work, nor anything closely resembling his cool font. Instead rather trying to draw some inspiration from that peculiar and playful but friendly characteristic, that to me personally distinguishes his Vermin font the most anyway.

╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍

And so I appoligize for the fact that this doens't truly relates or do justice stylistically in any way to the aesthetic present in Cookielord's original Vermin font. That being said, this is what became the end product of that.

But, it does have one striking resemblance that pays a homage to him, and that is the included cookie. Sorry I took a bite out of it my friend, hope you can still appreciate it.

— Just to let you know that regardless wether you decide to stay or not, your recent return isn't going to be for nothing!!

╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍

No 'Brick Size' filters were used, which of course presented me with a lot of challenges that limited the amount of complexity I was able to put in, something that wouldn't been the case with (2:2) 'Brick Size' filter settings. The other noteworthy aspect to this particular fontstruct is its grid size, which is tiny. Never before have I made a Fontstruction that required kerning values to fluctuate only as little as 0,01. This also made it impossible to implement optical corrections on the vertical axis in the form of overshoots, but luckily this didn't became a very clear issue in the end.

I'm not sure if I can complete the additional Latin accents for all characters due to the limited grid space available surrounding some of glyphs. I might try doing those later.

Let me know what u think of it so far fella's, stay tuned!

Cheers

colorcomp entry #1, might make another entry soon

A fun retro font with little loops and swirls, using "Sacramento" as a jumping-off point for inspiration.

Please enjoy~

Another Art Nouveau venture, wanted to take a more earnest look and study into the adjoining arts and craft/craftsman genres. Please enjoy

Exercise 

Erebor: The Lonely Mountain in Tolkien's Middle-Earth.

What? There's a ColorComp? Great excuse to release the Marvel Movie font that I wasn't able to finish in time. 

Kontrast. Why the name? Well, take a guess.

In/Out letters experiment.

A wide stripe font with a couple art deco elements. Please enjoy~

Work-in-Progress …

Manufaktur

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The cyanotype was developed in 1842 by Sir John Herschel. This process, commonly used for blueprints, involved placing an object onto a surface and covering it in a solution of Iron (III) salts. Once the solution is exposed to ultraviolet light, the Iron (III) salts are converted into Iron (II) salts. After exposure, the suface is washed and the water reacts with the Iron (II) salts to form a Prussian Blue pigment that blueprints are known for.

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Manufaktur is a monospaced typeface and while it has upper and lower case letters, it is really unicase. Manufaktur is intentionally stripped of most characters, coming with only the most essential. The idea being that Manufaktur has the bare minimum, but is still functional as a typface. It was designed with the intentions to be used in a machine shop more than on a page.

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Notes:

Manufaktur is set in #002c8c, as a reference to blueprints. I had wanted to use Pantone's Prussian Blue (#003153) but it was too dark. 

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Some of the stenil lines (C, J, O, Q, U, 0, and 2) were made using white bricks. I had experimented ways to get the stencil lines without using white bricks, but it looked much cleaner with them. Being a color font, you should be able to change the color of the white bricks to mach your background. It's not ideal, but it's what looked the best.

Who even IS JeycoMonge?

STF_DECOBAU — Bauhaus got Art-Decoized
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This is probably what would've been if one was to ask Herbert Bayer to design an Art-Deco style typeface.

Who doesn't like to kick-off the start of this New Year with a freshly lettered breakfast, and celebrate the arrival of 2025 extra stylish…
—Lets say in a Retro fashion!?!

Here is yet another of my blind leaps in-at-deep-end in the Bauhaus—pool. For this one in particular I have Art-Decoed  the living sh*t outta Bayer's defenceless innocent little baby child Universal—"Boii was I lucky that the world was too damn p4rty-h4rdy last night, bussy celebrating New Years eve. Cuz I gotta tell u this folks, she was screaming at the top of her lungs"  #nobodycame2rescue

The font is obviously not your best pick for a large chunk of Body-copy text, and is best used solely for Display application purpose.

There is only a limited character set present, but thats alright, since the font has more of a "decorative" value anyway.
Due to the complex nature in these small grid glyphs the characters lack nearly all optical compensations typically seen. —So yeah, this time y'all have to settle with missing overshoots and such.

Kerning is a WIP,
So keep in mind that at this stage this remains very incomplete!

I hope y'all still like it,

Cheers

Rogue is a semi-upright slab-serif font. My first ever project to use ×2 Brick size filter.

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This originally started out as an attempt to recreate Anonoma Less Characters. But then, things took a turn and Rogue was born.

The reason I made the font "Semi-upright" was because bold upright serifs (at least to me) tend to look cool and stylish. Though, I still wanted to keep the sense of roman serif in the font. So the a, g and u are roman. The style of v, w, x, y, z in most italic serifs look too obscure and grotesque for my design, so those are all roman with y being the only exception. Basically, a mix between upright and roman.

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I have plans to expand the project into supporting Greek and Cyrillic as well as provide alternative glyphs for the font.

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Of course, the font has imperfections here and there. Comments for improvements or feedbacks are all welcome.

That's all I had to say.

An industrial stencil with a meaner, sharper aesthetic, similar to Sprat

Inspired by pocketknives and tacticool gear

Bonus Chinese character experiment

Also 1 year since my first FS

Soft and rounded NUMBERS like long fairground balloons... and shadowed. The first was the 8 and then all the others arrived.

Started with the concept of having only one rounded corner at the top. Named after the Bugatti Veyron.

Work in progress. It seems this idea wont ripe fast enough to reach the competition. Still it was fun to play with these color options.

This is my Christmas present to the Fontstruct community.

MOVIEMAX  — Groovy bold & roundish 70s display sans
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Moviemax is a bold display sans-serif that has a groovy 70s offbeat look. Essentially an all-caps lettering concept with simple looking letters. The basic geometry and inversed contrast with its soft rounded finish create an immediate endearing effect.
The default characterset comes as all-caps (unicase) only, with no glyph alternative forms. It has been completed with additional symbols and punctuation marks.

To make thing a little more interresting I have also included a full (A-Z) alphabet set of small-caps letter modifications with drastically altered proportions. Complete removal of the inversed stressed contrast to make a more simplified and cleaner looking minimalist letter style. Their size was also reduced to 50% of the cap-height (scale ratio ≈ 1:2), providing an optional alternative for the missing lowercase forms in the font.

To finished off this extra set of small capital letters, another additional full (A-Z) alphabet set of large capital letters was included. These letters have also been scaled down a bit to better fit with the small capital letter set (scale ratio ≈ 6:8 or 75% of cap-height).
The 2 sets include a slight more unique and stylized level of sophisticated characteristics to the font, and when used combined together in a mixed-case text format creates nice text capitalization.

These alternative forms are located in the Halfwidth and Fullwidth Forms unicode block.

A set of basic punctuation marks that align with the small capital letters had also been included and could be found in the Halfwidth and Fullwidth Forms & Private Use Area 2 unicode blocks.

I hope y'all like it

Cheers

GEO-PROTESQUE - Geometric grotesque typeface
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This time I did an attempt at making a typical super rounded geometric gothic grotesque "workhorse" typeface.  A sans serif style that is a very popular for headline and display text.
The idea for "Geo-Protesque" was to make a sans serif style that is strongly inspired by the pre- "International Typographic Style" -era. To dive deeper into a more decorative period of hand-lettering, pioneered mostly by architects and painters.

The most important difference as oposed to today's more traditional type design, is that during tose early days of the Modernism movement lettering usually was purpose made. Each letter had a unique role within a composition, making Lettering that was meant to be used in a unique configuration. These designs occasionally didn't even had full alphabets designed. And even more rarely getting manufactured and cast into full printing typefaces.

It was mainly inspired by those sans serifs seen in vintage sign paintings and show cards designs that often were more decorative artistic takes on the general basic stylistic concept of sans-serifs, or lettering in general.
Although Geo-Protesque is essentially more of a contemporary looking design, I tried to incorporate some of that playfullness that came with these "free-form" sans serifs.
On the other hand this design sticks well within those realms where it remains faithful to simple geometric form. This created almost quirky looking letterwidth distribution in the upper set, and set somewhat of a funky rhythm. This gives the font a very strong early 1900's feel.

The lower case set has a much more  uniform design that works well in a piece of body-copy text.

To pull this design off properly the font was created on a large grid using the 'faux'-Bézier approach. The rest just enfolded from there on out.
The design, (obviously) a very geometric grotesque, has some nice neo-grotesque features to it as well.
While many letters mostly have even stroke width, upclose you'll notice some stroke width variation is going on after all. This to bring more contrast into certain area's. Anther design feature is the font's generous and open letter-spacing.

The font is optimized for body copy in both digital and print use. Even at very small point sizes. In digital-display rendering it performs crisp even as low as 9pts. (Not bad I guess!)
Keep in mind that due to the nature in which 'faux'-Bézier curve fitting works this font might not be the best choice for a large size rendering. The  linear interpolation method uses linear polynomials (straight lines) to construct glyph contours.

Beware that when using this font at very large point size rendering the remnants of this process will become visible!

Cheers