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A pixel-friendly semi-condensed slab serif fontstruction. Deceptively simple in appearance, variable stroke thickness is achieved through advanced filters and a one-brick stroke thickness for vertical strokes. I kept the spacing tight (and at an integer value) so it works decently well as a pixel font down to 8 pt (at 72 ppi this gives an x-height of four pixels and a breezily condensed form). Some funky spacing issues remain without kerning pairs. Kern as desired and remember to have some fun with it!


Comment by William Leverette (will.i.ૐ) 14th february 2010
Technically brilliant. Your use of the bricks is truly outstanding, and to achieve this look in such a tight grid space goes to a whole new level.... again! There's not a lot you can really do with the kerning, especially at such a small size.
Comment by djnippa 14th february 2010
I could only repeat djnippa's words: technically brilliant. Superb. With proper kerning (and a complete extended set) it will be a full-fledged, versatile face with unmistakeable contemporary air. 10/10
Comment by Frodo7 14th february 2010
I bow to the master and humbly offer my 10 :)
Comment by p2pnut 14th february 2010
10, obviously. This is just excellent.
Comment by chr.s 14th february 2010
Hi y’all. Thanks for all the praise and cheers! ^_^

@djnippa: True, kerning as of yet still can’t be finessed here : (. Non-integer global spacing adjustments also blurs pixel rendering, so I cut my losses and locked the default letter spacing to 0. The resulting serifs that touch look a bit weird at all but the smallest preview zooms. However, I am particularly pleased with the pixel rendering it enables.

Check out the Gallery view zoomed exactly one notch above the “pxl” size to test drive iSlab with very sharp and sturdy pixel rendering. The two-brick stroke thickness (same as 16pt sample above) reveals the fontstruction’s use of 2x2 scaled bricks. Yet underneath these 2x2 bricks is a grid half the size. Put another way, the 8pt sample, a smaller sharp pixel rendition, has an x-height of only four pixels. The serifs melt with buttery goodness into the letter spaces at this scale by literally becoming them.

@Frodo7: I will work on creating the extended latin set, here. Thanks for encouraging me to give iSlab a professional polish. It’d be a fantastic start to have some kerning pairs in place for basic functionality, but this is no reason to end there ; ) .

Really, though, thanks for the inspiring vote of confidence. I will let all you typophiles know if I take this somewhere.

@p2pnut: I do have fun exploring the compelling field of small scale geometry and the unexpected possibilities they open up. My hat’s off to you for your awe-inspiring work that pushes another limit, that of rendering texture and irregularity within fontstruct. I still can’t believe what you achieved with RM Old Typerighter. If my experiments and innovations benefit you, I am happy for it. : )

@ chr.s: Thanks for the like. Props also for your work highlighting the elemental curves of the bricks. Bobolink is full of wonderful promise and I look forward to seeing more of it!
Comment by William Leverette (will.i.ૐ) 15th february 2010
Your work is always state-of-the-art and exemplary. I could rewrite all I've said before, but you already know how I feel about your work. The only thing I can add here is 'thanks'.
Comment by minimum 15th february 2010
Wow. Impressive to see how well this holds up at so many point sizes. Love those ink traps on the X and Y. I'm curious, did you start with the idea of making a FS that worked at multiple point sizes or was this a happy accident? Any lessons you care to share on how you got this to work so well across the point size spectrum?
Comment by afrojet 15th february 2010
Double sized filters and complex brick stacking,
Very tight spacing though kerning is lacking,
Stylish details that are suited for kings,
These are a few of my favorite things.

Seriously, master craftsmanship here, Will. I'm surprised, but I shouldn't be surprised knowing its from you. The detailed bars on the E and F. The bottom right of the N. The bottom of the V. Even the asterisk. All methodically and artistically constructed. Generous ink trappage. Sophisticated brick stackage. Versatile scalability. It sings loud and strong while being subdued and in effortless control.

Some options, if I may:
Subtler ink traps can be achieved by using the inverse quarter circle curves instead of the smaller triangles on the XY. On the v, serifs on the bottom could match the w. But that's just my two cents. A fantastically melodic achievement.
Comment by geneus1 16th february 2010
Haha, your and gentleman and a poet, Gene! :D That really did put a big smile on my face. All you guys, I am so glad you all can appreciate this. Afrojet, your questions are inspired and on point (no pun intended) and I look forward to responding in detail. Minimum, you are very welcome and please continue to know how well I respect your contributions which also expand the horizons of what we fontstruct even in spite of me not always communicating it with as consistent grace and honor as yourself.

I wanted to recognize you all for being a great community that really grasps this playful craft and with underlying passion for typography can thus truly ‘get it’. As well, I hope this inspires others who are just getting it. And thanks so much for the constructive criticism, Gene – In some ways it is even more appreciated that you took the time to work on improving this. Just briefly for now – I must be away from my computer and will respond later on tonight or tomorrow – I also just wanted to say ‘thanks’.
Comment by William Leverette (will.i.ૐ) 16th february 2010
so very substantial to be so small. amazing how you are able to provide such detail and variety working on a small grid. masterful.
Comment by funk_king 16th february 2010
@gene - you are a riot with that verse. don't tell me you're a show tune queen too :) makes me want to pull out my broadway karaoke cd and give it a crack. lol. just kidding, dude.
Comment by funk_king 16th february 2010
Congratulations! FontStruct Staff have deemed your FontStruction worthy of special mention. “iSlab” is now a Top Pick.
Comment by afrojet 17th february 2010
wonderful execution.
just flawless...
Comment by kix 24th february 2010
Ah, my first one vote for this one. Actually, in this case I feel it is somewhat deserved because I have been so slow to post some answers to afrojet’s questions above. Sorry! I’m getting to it! I am doing my best to describe a rather lengthy process, since what I tried to accomplish (and came pretty dang close) with iSlab are some of my earliest design goals with fontstruct. So, I keep trying to condense what I am saying, but realized just the other day that you all will probably bear lengthy prose if I get to saying something interesting.

Tune in tonight for something more substantial. Sorry, again for testing everyone’s patience. ¡^ ^

p.s. Thanks kix for the superlative compliments and appreciating what I did here!

p.p.s Ah, no it looks like someone swept through and rearranged all the top pick scores with a spray of high and low votes. Happens, s’cool.
Comment by William Leverette (will.i.ૐ) 26th february 2010
I see what you mean by the rearranging of the TPs; by the looks of which, 'minimum' stands to be guilty in light of the beneficiaries. However, neither I or the other me had anything to do with it. Just thought it best to clear that up. Both me's stopped caring about this rating stuff a while ago.
Comment by minimum 27th february 2010
Ata, I simply can’t imagine suspecting you of manipulating the fs top twenty.

The only thing your fontstructions are implicated in is being 10/10s. :^)
Comment by William Leverette (will.i.ૐ) 27th february 2010
Hi, will i 30, do you think I could download this?
Comment by Toad12344 10th march 2010
If that (above comment) isn't a fallback, it's the best misinterpretation ever.
Comment by minidonut 19th february 2015

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