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

Work-in-Progress …

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!

Esta fuente ha sido hecha para usarla en 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.

Ligatures ff and tt at the fi, ff and fl glyphs. Hope you like it. 

REWINDER - A bold and decorative "I don't have a clue" style font.

Alternative lowercase versions for (a, c, e, g, j, m, n, o, q, s, u, v, w, y, z)

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Usually I design fonts from a general concept I have in mind and start with the Latin alphabet first since I am most familiar with these characters. Then when I have completed these I start adding extra language support. letting everything evolve from there on out into the other languages such as Cyrillic or Greek. Doing it in this fashion I find myself having the best change of doing a decent job designing characters I am not familiar with the right way and in line with the design parameters.

This time I starten designing the Cyrillic alphabet first, trying not to think about the Latin set design at all. I did this in an attempt to have a neutral mindset that wasn't influenced in doing it a certain way.

And I must admit, this was the best and most comfi time I ever did a Cyrillic set. I experienced a sense of having a lot more freedom for creative output.

The result became this cool looking "hell knows" what kind of style letterforms. I have no clue if I actually did a decent and accurate job at the Cyrillic set, and I'm not sure where to go from here on out either.

I hope you like it so far

Cheers

Caps only. Inspired by the cool font "Chwast Art Tone" -or simply "Artone"- (1968, by the legendary master of design Seymour Chwast), "Inkwell" (1992, Sam Wang) and "Dogsmoke" (2019, Humberto Gillan), and recalling the feelings of those unforgettable momments from the "Saturday Night Fever" times. Tony Manero lives! Thanks a lot to @Dmitiy Sychiov for designing these beautiful Cyrillic glyphs.

Inspired by a font I saw in a children's book. The artist had drawn a map of the world on canvas and used a tiny serif font to label important points on the map. The letters had such a cute hand-made feel to them that I just had to recreate it in FS.

Uppercase letters are 6 grid squares (3 bricks) tall; lowercase are 4.5 (2.25 bricks). IIRC nudging had recently been introduced; this definitely would have been impossible without it.

Remembering free and groovy good old times! Curvy style font. "ff" and "tt" ligatures availables. Nothing better for the hot summer days. Enjoy. (Kern in progress).

G1 Radia. A scaled down version of an originally larger fontstruction. Lots of details with smooth micro bullnose serifs, high contrast stroke lines, and decorative ball terminals.

First try.

This design was created as part of the TwentiesComp. Too bad, due to lack of time, it was not finished.  I realize db Pontus still needs a bit of time and patience to be ready (glyphs, kernig etc...) However, I just want to introduce db Pontus in this context already ; ) 

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

Partial greek support, Hopefully not for long

Some alternatives to the "long leg" are in these glyphs: < for K short, > for R short, [ for h long, ] for k long and ^ for A long.

Paris, Berlin, Moscow in the 1920s... Art Deco, Bauhaus, Konstruktivizm... Effervescent people! This font is for Sandrine, the woman with white hat in the picture, and for all the people who together built the world. See also ztefan and zergei.

Umbriel is a moon of Uranus. It is named after a character in Alexander Pope's poem "Rape of the Lock." DS = dotted serif

Mithrandir is the Elvish name of Gandalf in The Lord of the Rings. It means Grey Pilgrim in Sindarin. Work in progress.

An extra "X" at the "x" glyph, thanks to @Dmitriy Sychiov.

I wanted to use the nudge feature on my Manuale typeface and soon discovered that I had to start all over again. Here's Manuale Neue Bold!

Unicase font. You can find alternates to "A" & "E" at the lowercase "a" & "e" (and their accents, of course), an additional design for the "Q" at the "q" and a "c" typing the "¢" sign. This font is directly inspired on Nickel created by the cool typographer David Jonathan Ross from DJR Foundry. Why? I don't know if this will happen to any of you, but me, when I stop to look at a font that I like, I find myself evaluating how the author has solved the usual "design problems". There are times when I agree with the chosen solutions (the most), but there are others when I think I would do it differently. This is the case. I wanted to modify a bit the general appearance of some glyphs of the font, especially characters like C, E, F, G, M, Q, R, S, X, Z and more, or the numbers and some secondary others. The differences were extensives and are more or less subtle in each of the complete set... And here you are the final result, I hope you like it. I've learned a lot during this experience, and FontStruct has been shown to be a very valid tool to work at this level. Thanks for read my little explanation and enjoy with this work, please.

Unicase with alternates. I was trying a monospaced font, but...

Been working on this for a while. I though now it's time to publish it and see what you think...

Inspiriert von Louis Oppenheim

Gr4ftY presents:

Foundry DS

inspired by frodo7's most recent work, this is the result of me trying it for myself. Still, this is far from perfect, and any help would be greatly appreciated.

THIS MAY BE EXPANDED APON IN THE FUTURE.

Abruzzo: a mountainous region in Italy. DS: dotted serif