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Here, the innovative approach I took to stroke contrast in iSlab takes a radical leap forward. The result: a technical, friendly, modern slab serif design demonstrating further potential of the stackable composite function.

Please enjoy a private clone to see how I dealt with contrast, curves, bracketing, variable letter width and the difficult-to-achieve emboldening of the capitals’ vertical strokes within a minimal fontstruct matrix (and If you like what you see, please download for personal usage and vote kindly! :)

Intaglio’s amazing recent work makes similar strides (see the excellent rounds, for example), offering a solution before me to several of these long-standing impasses of the medium.

More characters to come... :)


Beautiful!!!!!!! WOW
Comment by 3killgor3 9th april 2011
Magnifique! IMHO, you don't needs the seconds "K"s & "S"s.
Comment by elmoyenique 9th april 2011
Thanks, elmo! :)

You are right about the alternate Ks. They came early in the design process and are fairly extraneous. I think the alternate Ss are interesting to look at because both spines (the diagonally sloping and the more sinuous one) are executable for both uppercase and lowercase – all in such a minuscule matrix. I think my default selections are the best, though it turns out my final selections are actually mismatched (sinuous uppercase, sloping lowercase)! :)
Comment by William Leverette (will.i.ૐ) 9th april 2011
Very nice indeed. Love the ink traps. In fact lots of subtle flair all over it. Go to the top of the class.
Comment by intaglio 9th april 2011
Three syllables. A. May. Zing. Great curves, great everything. 6x(14÷7)-2/10, to make you do a little math.
Comment by BanjoZebra 9th april 2011
Congratulations! FontStruct Staff have deemed your FontStruction worthy of special mention. “Ohm Run Slab” is now a Top Pick.
Comment by Rob Meek (meek) 11th april 2011
Congrats for the TP! Really I love this font!
Comment by elmoyenique 11th april 2011
Woooow! This is one of the best serif fonts here on FS!
Comment by Logan Thomason (xenophilius) 12th april 2011
This is really great: 10/10. I must admit though, that I like the lowercase better than the uppercase. But I guess that's always the case when I see typefaces.
Comment by laynecom 15th april 2011
I dunno. But i think it looks like Cambria, especially in A
Comment by Adien Gunarta (Adien Gunarta) 21st april 2011
Some serious fontstruction going on here. Despite tiny imperfections (inset: the serif of U showing asymmetry), the necessary trade off of brick anatomy, it looks very polished. You clearly paid attention to detail. I like the minuscule nooks, clever ink traps, and infinitesimal optical adjustments (e.g. diagonal part of the N), only close inspection could explore. When completed, I would love to see Ohm Run Slab among the Featured Downloads. 10/10
Comment by Frodo7 1st may 2011
Magnificent. Impeccable. Something anyone could really use.
Comment by 3moDuDe 31st may 2011
I am with 3moDuDe. I am stunned by the ink traps!
Comment by naveenchandru 31st may 2011
Hmm... This doesn't really matter, but there is a little thing on the middle serif of the m. The cut-off part... you know what I mean. Just thought I might point that out. I still think this is fantastic, though.
Comment by Logan Thomason (xenophilius) 31st may 2011
The only reason I haven't said anything about this as yet is, well, what can I say except: It's brilliant.
Comment by thalamic 3rd june 2011
@intaglio, BanjoZebra, meek, elmoyenique, xenophilius, laynecom, Adien Gunarta, Frodo7, 3moDude, naveenchandru, and thalamic:

Belated thanks for all the love, friends. Your investigations and input on how this one is fontstructed show you really care about my work!

I have been continuing to adjust the very fine details before delving further into the glyph space – it is quite amazing just how much subtlety of variation is possible with stackable composites.

The new binocular g is an interesting case, as it requires complex stacked composites that span fractional strokes in both axes.

I revised several of the caps. Most notably, I slightly extended the arms and emboldened the terminals of C, E, F, G, S, and Z. These last two experienced the most significant change, both growing suitable beaks. I think I have struck a greater resonance between the upper and lowercase with these revisions, and generally improved things. Let me know! :)
Comment by William Leverette (will.i.ૐ) 3rd june 2011
That g is to die for. It's turned from a very good design into a knockout typeface. One of the very best I've ever seen on FS.
Comment by intaglio 4th june 2011
it's not possible that I miss this one... this is great work
Marvelous slab. precision work WOW!
Comment by Michel Troy ~UrbanPixel~ (Upixel) 4th june 2011
I further tweaked and propagated the stroke construction of the new g across a, c, e, f, j, o, s, t, y, and z. The balance of stroke contrast is now much more consistent for each of these characters (particularly a and e) and more closely matches the contrast of b, d, m, n, etc.

@intaglio, @Upixel: Thanks guys! :)
Comment by William Leverette (will.i.ૐ) 4th june 2011
Your sample clearly demonstrates the potential of Fontstruct to create high quality versatile text fonts. Superb punchcutting job!
Comment by Frodo7 5th june 2011
Wow. I was about to comment on how the e is too weird and you changed it! Yay!

By the way, 50/10
Comment by Agent Demonic Ladybug 10th june 2011
This is flawless. Brilliant work and samples.
Comment by snhussain 11th june 2011
Just saw the revised version - a little late, I know - and I think that this one is now perfect! It deserved being the example for the expert mode post. Which other fontstruction could have been right to show everything that is possible with FontStruct?
Comment by laynecom 7th october 2011
@laynecom: Thank you, brother! I did notice the praise (and perhaps subtle encouragement to add diacritics via use of the “Copy to Latin Accents” command). I would, but bumping the total height of the font metrics with capital diacritics just mangles the whole thing in the preview widget(s). I know, I am a fussy one about these things (less than some, perhaps).

How about a render from .otf command as the next level of expert control @meek? I know, also, you are working on it, so I will keep waiting patiently! :)

Also, the blog images reveal how this fontstruction was all kind of cobbled together as I tried out various combinations of stacked composites (sometimes one on top of the other) to achieve the proper balance of terminals, traps, etc. Very much like stone carving, or more precisely, creating hand-built pottery – with that very stoic skeleton as the base (cartesian grid). So far I had to work pretty hard for this one, all out of love and devotion.

And my deepest prayer still is that all the cracks in the pavement really point toward even greater depths of possibility. I imagine, as likely as me, someone else will surely find them; that’s why I make sure to enable the clone feature at every turn.

Thanks again for all the love and respect, my friends!
Comment by William Leverette (will.i.ૐ) 7th october 2011
Heaven knows how I missed this the first time around (it must have been during my 'fallow' period).

This is excellent by any standards ... let alone as the result of a modular construction.

I stand in awe of your mighty works :)
Comment by p2pnut 8th october 2011
@p2pnut, Frodo7, Agent Demonic Ladybug, snhussain: Many current and belated thank yous for the praises of appreciation you have given my work! :) ♥

I will try again to come forth with some succinct illuminations (@geneus1 who’s also had to wait patiently on this one) about how I envisioned and attained these complex and unified results within such a small and seemingly impractical matrix.

The theory is pretty hard for me to reduce into a brief and accessible series of words that properly befit how the modules themselves speak such huge volumes via the simplicity of their actual constructions. Of course, translating their language is the key. Since it is a language of form and relationship (all mediated by the underlying selection of Cartesian grid), images really are the only way to bridge the gaps that cannot be easily intuited. Which mean making a blog. Which means...
Comment by William Leverette (will.i.ૐ) 8th october 2011
Hi Williaum, just published on FS the last evolution of Human Deacay, my font in which the LC were inspired by your UC. Here's the link
Comment by Abneurone Fluid Types 27th february 2012
Your fonts are always amazing.

BTW, what are "ink traps"?
Comment by anonymous-479865 13th june 2012
@MEEK : Pure Spam on the comment above
Comment by Abneurone Fluid Types 2nd october 2012
@anonymous: Ink traps are those special corners applied in a font that is designed for printing or DTP, these are being filled with ink in the process of printing, so the shape of sharp corners doesn't get affected by too big amounts of ink.

Besides, they just look really nice, this font is a perfect example. Really cool Q.

Fantastic username, but can't see the point of such tall comment :S
Comment by Neoqueto 2nd october 2012

@AFT: Aft66 Human Decay? Server 403'd. Private?

Comment by AFontAbove 1st march 2023

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