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Typeface Sate Ayam ini divisualkan dari bentukan paruh ayam yang dikombinasikan dengan batik dari madura sehingga typeface ini memiliki bentuk serif yang menyerupai bentuk tanaman paku dimana tanaman tersebut bentuknya melingkar ke bawah, dan tipe atau kategori yang saya gunakan adalah perkembangan dari tipe serif yang memiliki bentuk tajam pada ujung hurufnya.
Narrow and heavy, ultra bold Piano key designs once required fractional brick scaling to generate their distinctive slit-like counter forms while working with maximum curves. Composite stacks provide a more elegant and versatile solution to this old problem. In this way, they can be seen as an important milestone on the road toward individually scalable bricks...
Letterspacing is kept tight in this fontstruction, but still needs a great deal of manual kerning especially around all the character lacking serifs on one or both sides.
72+ initial downloads done during testing and troubleshooting. More characters to come. Enjoy, and please vote kindly. : )
This is a cloneThe ultra-low resolution of this grid may be difficult to grasp without cloning. Fontstruct’s logo has a nominal x-height of 3 bricks, by comparison.
The level of detail, control, and finesse possible in a given fonstruction depended mostly on resolution prior to the recent advent of stackable composites. Did you want it better? Make it bigger!
Brute force, now meet Elegance.
Instead of building individual glyphs hundreds of bricks tall, stackable composites allow us to design rich modular schemata hundreds of bricks deep. Using curved bricks at their largest scale, linear and curvilinear elements dynamically harmonize and oppose. As well, screen fonts can be effectively hinted (aside from notable lack of kerning controls) without sacrificing the integrity of joins and intersections. And the trapping possibilities, Oh the sweet sweet trapping possibilities...
Please, vote kindly and stay tuned for more :)
This is a cloneWhat began nearly 8 years ago as an experiment in multi-stage, multi-resolution pixel serif type drafting (starting smallish then manually upscaling x4), took on the robust character you see here after countless edits and some tricky lessons learned along the way.
The initial weight was on the light side (cloned privately for posterity), so I took a leap into this bookish weight by fattening each glyph copy-pasted 1 pixel shifted both up and to the right. A rudimentary technique, by no means novel, yet almost wholly effective. I saw fit from here to only make a handful of corrections, keeping the slightly rounded and slanted serif shape that resulted as well as the subtle reenforcing of a pen-nib construction.
More intriguing is the 1-bit “anti-aliasing” scheme I found myself progressively guided toward while finding the lines of these curves developing the initial light weight. Implied diagonals and said curves – as well as refinement of contrast – are substantially more granular and specific than had I taken a black-and-white posterized, or stairstepped approach.
At half-resolution, the resulting smoothness is acceptible. This type of hinting will be useful in developing a substitution rule set consisting of subpixel slanted or curved bricks to produce a “vectorized” version.
Indeed, such a process could be purely automated by a proficient developer or properly trained neural network (this would be a really interesting future feature for fontstruct pro – rather than hinting a font after painstaking vector construction, why not reverse the process by way of en vogue ai-assisted upscaling?).
Basic accented charaters and numerals are being added as I churn through the extended character set...
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... :)
This is a cloneanything goes in this book-style pixel font. it is for secret project.
maximum of 11 pixels tall (plus 3 px descender below)
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[1.7d] Still working on CJK and Hangul. Still not even halfway there!!!
[beta 1.7c] More CJK, Aboriginal Canadian Syllabics, Bengali
[beta 1.7b] More CJK but still not nearly enough
[beta 1.7a] I found a stray pixel which stretched the font two pixels too high. It's gone now.
[beta 1.7] ??? stuff? korean jamo, like 0.3% more of the CJK, Greek Extended, and one of the East Asian scripts (the name I forgot :<)
[beta 1.6d] assorted CJK and symbols
[beta 1.6c] devanagari (hindi script), thai
[beta 1.6b] thai and other junks. some characters improved
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
Copyright 2013 to 2019 Doug Peters (https://www.Doug-Peters.com or https://Dougs.Work/), aka Symbiotic Design (https://SymbioticDesign.com/), all rights (including artistic & creative rights) are reserved worldwide.
Released as a freeware font under the condition that if you use the font the authoring font designer will be attributed at least once (on a website, blog or in social media) with an active hyperlink back to the font homepage, the designer's profile, or any one of his websites. No derivatives are allowed. See the included "license.txt" text documentation within the distribution archive for license specifics. If this font was not distributed with a "license.txt" that specifically describes a "FonStruct License", it is an incomplete and unauthorized version.
Get the original version (development version) of this font at:
https://fontstruct.com/fontstructions/show/853961/broadbill
If the development version here is being actively worked on, it may contain a few errors. You can get the last officially released version of Broadbill from:
https://www.font-journal.com/fonts/13107/broadbill.php
or use the short link:
https://w3n.us/broadbill
Designer's FontStruct profile:
https://fonstruct.com/fonstructors/595075/symbioticdesign
or use the short link:
https://w3n.us/sdfonts
Any hyperlink in this description is authorized as a back link. -DP
https://SymbioticDesign.com
https://www.Doug-Peters.com
https://Dougs.Work
PayPal donations (to encourage my continued freeware font design efforts):
https://paypal.me/sitedesigner
Clone of Lead Balloon (by me).
This font is Copyright 2018 & 2019 Doug Peters ( https://www.Doug-Peters.com/ or https://Dougs.Work/ ) and released as freeware under the Creative Commons Attribution Share-Alike License. You are entitled to use this font however you want, but please credit me for my original work somewhere (website, blog or social media, preferably with a link back to one of my sites), and credit attribution IS greatly appreciated.
This is sort of a functional font version of the Led Zeppelin font logo (in TTF). The _ low line is actually an end cap for the L, Z & lowercase letter underlines.
Categories: Famous, Faux Curves, Logo Inspired, & Novelty
Type: Serif
Weight: Regular
Web font: Yes, sure.
Commercial use: Any use, yes, please credit me somewhere? Thanks!
Derivatives: OK (please use a different reserved font name).
Redistribution: Encouraged
P.S.:
Font-Journal:
https://www.Font-Journal.com
My best web hosting solution:
https://HDWebHosting.com
PayPal donations (to encourage my continued freeware font design efforts):
https://paypal.me/sitedesigner
Bumbu kacang is the actual name of Indonesian Salad’s (also known as gado-gado) peanut sauce. The round shape of the typeface inspired by the shape of lontong. The curvy part in the middle and the dots represent the peanut sauce.