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)
=============================================
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
DOBINI BALWAUM (Inline) — Didone-style 18th century modern serif
═══════════════════════════════════
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
elza: serif meets ball terminal... I found out the Germans actually have a word for this: 'Tropfenserife', which roughly translates as 'teardrop-serif'. Normally appearing at the end of strokes in letters such as a,c,f,g,j and r, I have tried to build this font around it, using it as its main design feature.
Again, I'm publishing this although it is not finished yet. Seems to become a habit ;-) Anyway, the name of this font is the German word for temporal paradox and this should illustrate the fact that I started this typeface as a Times alternative. As you can see, however, it took a very different direction.
I will add more glyphs in the course of time.