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 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.

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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

Work-in-Progress …

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

Unicase font with a handful of alternates on the lowercase zone.

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

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

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

An old idea updated for this event: FS turns 18!... Revisiting an unfinished project is often a good thing. The experience gained over time usually fills in many of the gaps left by the initial attempts. Btw, the kern is in progress. Hope you like it. Happy Birthday FontStruct!

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

Part of the Stu font family, Stu Mid keeps all lowercases tucked within the x-height space. The character glyphs can be used interchangeably between the various Stu styles to achieve a more "bouncy" typesetting effect.

Stu pays homage to oldstyle numerals, where type designers vary the heights of numbers to resemble a line of running lowercase text. It seeks to address the question: "What if every lowercase alphabet also had varying heights?" The result is a font family with full-fledged ascenders ('Hi'), strictly x-heights ('Mid'), and only descenders ('Lo').

You can view the documentation of the Stu font family design here.

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.

Inspired by this pretty font by fugitiveglue. I've added a bright point on each little ball. Better see at big size.

RINKEL — Bold constructivist display design
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This was very much influenced by the rare sighting of

1974's Lettergraphics International typeface by the name 'Belden'

Belden was shown in a Lettergraphics ad in U&lc vol. 1, no. 3 from 1974, without further design credits. It was also featured in the book cover design for "Metaphysics: An Introduction" by Keith Campbell.

—Which in terms I have used for my personal extrapolation of the complete character set of this FontStruction.
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Not a digitizing revival of the original piece, but rather a very strongly inspired personal take on it.

—More complete character set is coming soon..

Let me know what u fellow structivists think of it so far!

Cheers

This project was stuck in font purgatory for over two years due to some frustrating issues with consistency. Finally revisited and finalized, here is a simple thin inline deco font, had some fun with the flip-flopped "B" as the "g." Please enjoy~

Esta fuente ha sido hecha para usarla un día muy especial en la vida de mis adorados Héctor y Trini, que han decidido casarse. ¡Os queremos felices por siempre! ¡Vivan los novios!

Not finished font (kern in progress). An extra "Q" has been added in place of the "©" glyph, and a nice heart symbol appears also at the "™" one. I'll fine-tune some details ASAP, I promise.

STF_FRONTAL BOSSING - A groovy bold and rounded Sans Serif typeface.

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This is going to be my second entry in the "HeavyComp"

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ABOUT THIS FONTSTRUCTION:

TECHNICAL:
Grid:  17 × 16 square grid units (incl. descends, overshoots, accents)
Filter: 2 × 2 brick size

BIO:
The idea was to come up with a friendly chubby fella.

And for all I know I think I have done just that. In the end, it does seem to appear it came out with a slightly bigger forehead than the average (but, no love was lost here, we have come to learn to appreciate the misfits).
Despite its weight and slightly clumsy appearance this juicy Mr. Boogie still got dat funk, and can not wait for it to be the next saturday night.
Even so, when he for once isn't told to "Swing and Boogie" he still is nice to have hanging around. His friendly persona is only to be matched by the ever so nice soft curves. "No sharp edges to detect here".
I can only hope for that all of you come to appreciate him as well! ;-)

(Let's do this in another language as well)

CONCEPT:
The idea was to make a letterform that has a friendly looking design. I tried to achieve this by way of softening all hard convex corners with a smooth rounded curve. And by "all" I litteraly meant, even on all diagonals, accents, thin strokes and stroke tips (Nothing was left untouched).
For all the concave corners, so the negative space (white space) of the letters have multiple solutions depending on what is happening (does it curve, intersect and or wether a stroke continues or not)

The curves all have near hi-res looking (a couple of minute imperfections) but otherwise smooth surfaces, and there are multiple custom created ratios/transitions, such as:

1.5×1.5,   2.5×2.5,   2.5×3,   3×4  (+  The bullet is a 7×7 circular dot)

I hope you like it,

Cheers

(PS: Sample follows soon)

Gr4ftY presents:

SCORN

“Does this font look trustworthy to you?”

This took a while to make but I’m very happy with how this turned out (even though this is far from finished!)

If you have any suggestions for improvements, please tell me in the comments and I will try them out if I can.

❤️fs

Gob Pixi is an amalgamation of different experiments with colour, display type and visual effects throughout the years of working with a comfortable, personal design palette.

Having been obsessed with grain textures and primary + secondary colours throughout the start of 2020s, I was moved to translate that into typography after seeing Kilotype's Lofi Forest "fizzy-fying" an otherwise sharp-looking Roman/Serif.

Also, I have worked on a type project that got me to layer different coloured shadows and highlights above each other, so this is my attempt at translating that effect onto another typeface that I've shelved for quite a while now. (I happened to come up with something similar to Get Yourself Connected by chance and didn't know what to make do with it.)

ColorComp entry

MIKITA - A "Chrome Script" style font based on the "Makita" logo type.

It is a simple 'semi' connected script, with only the basic character set.  I don't feel like this requires having tons of typographic features. It is just aimed at writing simple things in this script style.

I hope you like it nonetheless

Cheers

Lessons in Composition, Vol. 1

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Less of a typeface and more of a concept, Lessons in Composition, Vol. 1 (LC,V.1) was a fun experiment with a compossion based typeface and negative space. Strictly geometric, each character in LC,V.1 is made out of rectangles, circles, curves, and the subtraction of these shapes.

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Notes:

LC,V.1 is set in #f90000 (red) and #2a2a2a (slightly off black). All of the white space is transparent. 

The font on the Irish Series B Banknotes.

MARTIAN AMBASSADOR — Future retro / Sci-Fi style
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A future retrostyle that reflects the social construct at the dawn of the Computer Age through the zeitgeist of that 70s and 80s aesthetic fashion, which was strongly influenced by things such as: space, computers, sci-fi and cyberpunk.

Initially inspired by SB Standard font (2013, Craig Staiton) with many modifications and recreated glyphs... And made to saving half the ink when you print your text with it, which is very important in today's times, you know :))

A neon-signs-inspired chromatic fontstruction for the Color Competition.

I can't superate chocomotion by four (❤️!), but I'm trying my own soft approach to the 3lines font design world. Hope you like this attempt to clarify from my to-do list. Btw: feedback about the design or aesthetics of some Cyrillic characters would be appreciated. Thanks in advance, people.

Bevelled + inline sans serif. Capitals only.

A fractured art deco font, crumbling under its own weight

Please enjoy~