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DIDUDE (Condensed) ― Contemporary Neo-classical "Didone" style serif
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The idea revolved around the basic concept for 'Didone'-style typefaces.
A genre characterized by modern unornamented standard letterforms, which was very popular for general-purpose printing during the 19th century. DIDUDE is by no means an attempt to embarge on a quest trying to deliver a conceptual overhaul of this genre. Its main goal was to achieve greater simplicity, without sacrificing that traditional neo-classical personality. Instead of leaning towards the typically more 'Humanist'-influenced style with distinct stroke modulations and proportional forms, geometry and symmetry were introduced to design this more simplified take on the traditional historical style. It has been crafted with a structural logic of its own.
"Less human, more geometry.." A fusion of geometry and neo-classical elements that blends the past with the present.
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Main distinctive features for DIDUDE (Condensed) are:
Tall and narrow letterforms with short unbracketed serifs, vertical orientation of weight axes with a strong contrast between thick and thin strokes, slightly squarish-shaped round characters and its emphasized business-like nature. So the majority of important characteristics that distinguish the neo-classical style have been incorporated.
Certain features that were implemented into DIDUDE's design are somewhat setting it apart from most other, more traditional typefaces in this genre, and most notable is the more relaxed contrast ratio that was choosen for this particular project.
Further personalizing touches were made to stroke endings and curve geometry, providing slight 'calligraphy'-inspired decorative variation with occasional spurs, breaks, curved finials and plain monolinear terminals.
Topping it all off with an ever so gentle height deviation that sparks a subtle rhythm to any line of text. Last but not least, most of the optical clunkiness was addressed and either corrected or compensated.
There is a large character set that includes a little bit of everything:
Basic latin character set, latin-1 supplement set, stylistic ligatures and glyph alternatives, punctuation marks, lining and non-lining text figures, roman numerals, (Partial) Greek and Cyrillic, also numerous non-lingual technical, mathematical and decorative stuff was included.
Only partially kerning for now and this remains a WIP.
Nonetheless, I hope y'all like it so far..
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Here is a link to the other font style in this typeface family:
STF DIDUDE (Regular)
Cheers
33 Comments
Excellent work! The 4 just looks a tad too wide and sharp compared to other characters, and the "a" within @ could be thicker.
Hey thanks Sarela!
You're right, there are a couple of characters that still need some slight modifications to get them to look better and fitting the rest. 4 is certainly one of those. But maintaining the proper stoke widths as well as translating them to the required angle at the same time proved to be very tricky for some glyphs. Therefor better solutions remain pending for now until I figured it. It remains undownloadable as well untill I feel confident about it to be right!
:)
(EDIT:)
I am pretty sure I solved "4" now. :)
A lot of new stuff has been added during the last couple of days... It remains under development still :)
very beautiful and sophisticated
i like that there are several types of numbers :)
Thanks blu!!
Actually I'am finally having the end of it in sight, after several days of excesive kerning and various other background work. I think I have done roughly about 50.000/60.000 pairs so far.
Lovely condensed serif font with an admirable character set. Tons of work, and careful tinkering with custom bricks. Kudos for the outline views. Question: Why do you exhaust yourself with 50-60 000 kerning pairs in Fontstruct? There are better ways to do kerning, even for perfectionists. Look for kerning groups or kerning classes in Glyphs or FontLab, respectively. Saves a lot of time. Great work. 10/10
@Frodo: First of all thanks for your kind words! I know there are much more efficient ways for doing this, I am a FontLab studio user as well. The thing for me is that I want my works to look good here at Fontstruct as well. And usually I do just the most important pairs to provide at least good looking font preview modes on the website. This time it seriously got out of hand and I got dragged away by my own obsesive drive for perfection. I can most certainly tell this was a first, and most definitely the last as well.
The joy I nomally find in Fontstructing dropped far bellow zero on this font.
Ligatures ?
Now the problem with corrupted/missing kerning data I previously had with a different fontstruction is happening to this font as well. When I download and install this font most of the via fontstruct applied kerning no longer translate to the *.TTF file. Previously downloaded versions didn't had this issue.
There seems no way to fix it.
In the top written in red is what any new downloaded version looks like. Clearly there are numerous issues troughout the line of text as you can see!
In the bottom written in green is what older downloaded versions looked like, which is a correct display of the font. Also this is what it still looks like when viewed in the Fontstruct editor.
I'm clueless on what is going wrong here, I hope it can be fixed. So far it's the second font of mine that gets ruined this way.
The other one can be found here: STF_DERBY
This is viewed within the fontstruct editor itself, it all appears to look fine in here...
Update info:
I reworked some small details, fixed some flaws and made it downloadable. I hope you like it.
Enjoy
LARGE UPDATE - (05-23-2022)
Many new changes were made.
Perfected the overall appearance and polished many glyphs. Making it feel much more balanced as a whole typeface. I also added numerous new characters and started adding more language support. - [View a sample in the next comment]
Cheers
Beautiful. The character set is very impressive.
Congrats on the well deserved TP! Impresive update, I'm with the guys. My only "but" is about the "¿" and "¡" glyphs: In Spanish they should be placed below the baseline as the descenders of "p" or "q": ¿p? ¡q!
@Rob: Thank you so much for the TP boss, much appreciated.
@elmoyenique: oh, that is somewhat completely new intel for me to be honest.
There I was thinking that by now I had learned most there is to know about the technical aspect of type design. Yet I managed to fail taking notice of such a simple basic rule.
Thanks for pointing it out, I'll look into it and ofcourse correct it next update.
Believe me, pal, I use it everyday :)
@:elmoyenique: I have fixed both glyphs, thanks again :)
@Sed4tives: Yes, Elmo is right: those inverted marks go down to the descender level. However, you may provide a set of inverted marks ( ¿ ¡ ) sitting on the baseline as case-sensitive alternates for a text set in capitals only. The same applies to small caps (there are no descenders).
?
[IMPORTANT UPDATE NEWS]
This font had some major changes happening recently as part of the
process of converting the FontStruction into a multi-styled typeface
family. To see a more detailed overview I suggest you check out the
font page for the latest new 'Regular' style variation.
But basically 99% of what happened to this 'Condensed' version was
described to a greater detail in the font description for the 'Regular'
version.
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