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

ColorComp entry, inspired by the Memphis art style. I started this originally a few years ago with several color variations (using the three main colors), but I couldn't decide which ones to go with, so this sat unfinished for a while. In the end I decided to go with this.

LORD KRUMBLE —A transitional sans that mixed Art-Deco with neo-classical humanist minuscules

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Inspired to celebrate the homecoming of him who strikes fear in all badly baked treats, the one which nightmares are made of, that kind of person that makes every cookie crumble and wanna skip school for a day or two. Of course I'm talking about the one and only "Cookielord".
— "What couldn't be better suiting than to have a freshly crafted and new font that is celebrating his return."

Him recently dropping a new FontStruction somewhat came as a pretty unexpected but nice surprise. It just so happened to be that I was already looking for new ideas that could lead to the next project. In fact, until recently I was actually still struggling with this, and hadn't really been able to provide a catchy and motivating design theme to bring to the table that would once again help me on my way with starting a new FontStruct project. So I took this occasion to see if I was able to find a little inspiration in his Verminfont. Not particularly aimed at doing a derivative work, nor anything closely resembling his cool font. Instead rather trying to draw some inspiration from that peculiar and playful but friendly characteristic, that to me personally distinguishes his Vermin font the most anyway.

╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍

And so I appoligize for the fact that this doens't truly relates or do justice stylistically in any way to the aesthetic present in Cookielord's original Vermin font. That being said, this is what became the end product of that.

But, it does have one striking resemblance that pays a homage to him, and that is the included cookie. Sorry I took a bite out of it my friend, hope you can still appreciate it.

— Just to let you know that regardless wether you decide to stay or not, your recent return isn't going to be for nothing!!

╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍

No 'Brick Size' filters were used, which of course presented me with a lot of challenges that limited the amount of complexity I was able to put in, something that wouldn't been the case with (2:2) 'Brick Size' filter settings. The other noteworthy aspect to this particular fontstruct is its grid size, which is tiny. Never before have I made a Fontstruction that required kerning values to fluctuate only as little as 0,01. This also made it impossible to implement optical corrections on the vertical axis in the form of overshoots, but luckily this didn't became a very clear issue in the end.

I'm not sure if I can complete the additional Latin accents for all characters due to the limited grid space available surrounding some of glyphs. I might try doing those later.

Let me know what u think of it so far fella's, stay tuned!

Cheers

MOVIEMAX  — Groovy bold & roundish 70s display sans
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Moviemax is a bold display sans-serif that has a groovy 70s offbeat look. Essentially an all-caps lettering concept with simple looking letters. The basic geometry and inversed contrast with its soft rounded finish create an immediate endearing effect.
The default characterset comes as all-caps (unicase) only, with no glyph alternative forms. It has been completed with additional symbols and punctuation marks.

To make thing a little more interresting I have also included a full (A-Z) alphabet set of small-caps letter modifications with drastically altered proportions. Complete removal of the inversed stressed contrast to make a more simplified and cleaner looking minimalist letter style. Their size was also reduced to 50% of the cap-height (scale ratio ≈ 1:2), providing an optional alternative for the missing lowercase forms in the font.

To finished off this extra set of small capital letters, another additional full (A-Z) alphabet set of large capital letters was included. These letters have also been scaled down a bit to better fit with the small capital letter set (scale ratio ≈ 6:8 or 75% of cap-height).
The 2 sets include a slight more unique and stylized level of sophisticated characteristics to the font, and when used combined together in a mixed-case text format creates nice text capitalization.

These alternative forms are located in the Halfwidth and Fullwidth Forms unicode block.

A set of basic punctuation marks that align with the small capital letters had also been included and could be found in the Halfwidth and Fullwidth Forms & Private Use Area 2 unicode blocks.

I hope y'all like it

Cheers

Started with the concept of having only one rounded corner at the top. Named after the Bugatti Veyron.

ColorComp entry

LEOPOLD PRO (Serif-Regular) — Modern geometric condensed slab-serif
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This font is the second style instance for the newly launched "Leopold Pro" typeface family, and is kicking off this new family of fonts.

The first one came as a minimalist, geometric sans serif style, this second font adds a serif style variation to the family. Both the "sans-regular" and "serif-regular" styles have identical visual properties for size and weight to allow seamless combination of the two, and as the name already suggests, represent the "Regular" style for the family.

Motivation for this was to craft a slab-serif style for the original geometric letterforms that has strong antique mechanistic qualities to add somewhat of a typewriter characteristic.

The relaxed optical proportion, short unbracketed serifs and open spacing results in clean and pleasant to look at text. Largely thanks to these properties it is still relatively legible in terms of a slab-serif style.

The other style can be found here:
LEOPOLD PRO (Sans-Regular)

Two additional extra "Light" and "Bold" weight classess are also currently in development, both remain works in progress for now, but are expected to be included in the future.

I hope y'all like it so far,

Cheers

MARTIAN AMBASSADOR — Future retro / Sci-Fi style
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A future retrostyle that reflects the social construct at the dawn of the Computer Age through the zeitgeist of that 70s and 80s aesthetic fashion, which was strongly influenced by things such as: space, computers, sci-fi and cyberpunk.

RINKEL — Bold constructivist display design
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This was very much influenced by the rare sighting of

1974's Lettergraphics International typeface by the name 'Belden'

Belden was shown in a Lettergraphics ad in U&lc vol. 1, no. 3 from 1974, without further design credits. It was also featured in the book cover design for "Metaphysics: An Introduction" by Keith Campbell.

—Which in terms I have used for my personal extrapolation of the complete character set of this FontStruction.
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Not a digitizing revival of the original piece, but rather a very strongly inspired personal take on it.

—More complete character set is coming soon..

Let me know what u fellow structivists think of it so far!

Cheers

STF_FRONTAL BOSSING - A groovy bold and rounded Sans Serif typeface.

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This is going to be my second entry in the "HeavyComp"

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ABOUT THIS FONTSTRUCTION:

TECHNICAL:
Grid:  17 × 16 square grid units (incl. descends, overshoots, accents)
Filter: 2 × 2 brick size

BIO:
The idea was to come up with a friendly chubby fella.

And for all I know I think I have done just that. In the end, it does seem to appear it came out with a slightly bigger forehead than the average (but, no love was lost here, we have come to learn to appreciate the misfits).
Despite its weight and slightly clumsy appearance this juicy Mr. Boogie still got dat funk, and can not wait for it to be the next saturday night.
Even so, when he for once isn't told to "Swing and Boogie" he still is nice to have hanging around. His friendly persona is only to be matched by the ever so nice soft curves. "No sharp edges to detect here".
I can only hope for that all of you come to appreciate him as well! ;-)

(Let's do this in another language as well)

CONCEPT:
The idea was to make a letterform that has a friendly looking design. I tried to achieve this by way of softening all hard convex corners with a smooth rounded curve. And by "all" I litteraly meant, even on all diagonals, accents, thin strokes and stroke tips (Nothing was left untouched).
For all the concave corners, so the negative space (white space) of the letters have multiple solutions depending on what is happening (does it curve, intersect and or wether a stroke continues or not)

The curves all have near hi-res looking (a couple of minute imperfections) but otherwise smooth surfaces, and there are multiple custom created ratios/transitions, such as:

1.5×1.5,   2.5×2.5,   2.5×3,   3×4  (+  The bullet is a 7×7 circular dot)

I hope you like it,

Cheers

(PS: Sample follows soon)

MIKITA - A "Chrome Script" style font based on the "Makita" logo type.

It is a simple 'semi' connected script, with only the basic character set.  I don't feel like this requires having tons of typographic features. It is just aimed at writing simple things in this script style.

I hope you like it nonetheless

Cheers

Opening Day of Marvel's "Madame Web" movie!
Keeping it simple with a shaded 3D extrude and red spider-sense lines.
I wonder if the Spiderwomen have the Peter Tingle? 

INNERCITY — Geometric future retro display grotesque
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Geometric unicase display sans with a stylistic filled counter-like (Uc) set and monolinear 'bare-boned' geometric grotesque (Lc) set.

— Full alphanumeric dual-variant font !!
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Elmoyenique's "zenzura" (a very stylish work in it's own right, make sure to check that one as well) anyway,
His 'zenzura' font kind of struck me with a healthy fresh dose of motivation. In the past I've explored somewhat similar style designs, but none of those ever really got consolidated into the extensive and complete work Elmo delivered with his stunning zenzura.
So I decided to dig up one of my older such projects and see if this new motivational boost could turn 'half'-a-font into a complete piece.

Long story short, this update is the result of that venture.
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Where previously this project came in just one style (filled counters), with no additional glyph alternates. Basically a complete absense of the lowercase-string all together, and only very limited complementary set of symbols and punctuation marks were present. Neither did the previous version had a great deal of refinement in terms of metrics / kerning and overall horizontal distribution of type-set material.  So, it was nothing more than a plain doodle of the idea I had back then, that had to be preserved for a later stage.  
But being drawn into more recent projects at the time I eventually ren dry on motivation to fully finalize this I ended up publishing it in its rough state.
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ABOUT THE UPDATE:

The'bare-boned' lowercase is a somewhat futuristic geometric looking form, whereas the filled uppercase set has a strong retro vibe.  

Combined in 'mixed-case' it can make a cool optional decorative style capitalization for your text. Used in isolation the two styles (Uc, Lc) both could be used as two seporate fonts, allowing stylistic text hierarchy.

In addition to the stylish retro-like, and partially filled forms I included a glyph-alternative set that strips the letterforms down to their monolinear core-geometric essence.
The design of this set is characterized by the spacious, sharp and clear appearance, that looks slightly futuristic but fashionable still.

With this new addition being the more legible and clean form of the two style sets, I placed this variation into the lowercase-string, making this the default-style for the font.
For the numerals, symbols and punctuations, I tried to remain committed to the stylish filled nature of the uppercase set.

A full alternative monolinear and 'bare-boned' numeral counterpart is located in the 'Full Width' Unicode block. Two extra weight variations for the brackets are also included for a more precise personal preference..

— And so it finally could respectably considered being a full font after all.

Thats all folks.. Enjoy !

cheers

[Aa]: Argentina, Australia

[Bb]: Brazil, Bangladesh

[Cc]: China, Canada

[Dd]: Germany, Denmark

[Ee]: Spain, Ethiopia

[Ff]: France, Finland

[Gg]: Greece, Ghana

[Hh]: Hungary, India

[Ii]: Italy, Indonesia

[Jj]: Japan, Jamaica

[Kk]: South Korea, Kenya

[Ll]: Latvia, Lithuania

[Mm]: Mexico, Malaysia

[Nn]: Norway, Netherlands

[Oo]: Oman, Austria

[Pp]: Poland, Pakistan

[Qq]: Qatar, Guatemala

[Rr]: Russia, Romania

[Ss]: Sudan, Saudi Arabia

[Tt]: Turkey, Thailand

[Uu]: United States, Ukraine

[Vv]: Venezuela, Vietnam

[Ww]: Belarus, Sweden

[Xx]: United Kingdom, Israel

[Yy]: Yemen, Iceland

[Zz]: Zambia, Zimbabwe

[0]: South Africa, [1]: Estonia, [2]: Nigeria, [3]: Ireland, [4]: Czech Republic, [5]: United Arab Emirates, [6]: Democratic Republic of the Congo, [7]: Philipines, [8]: Iran, [9]: New-Zealand

[.]: Switzerland, [,]: Nepal

[?]: Cuba, [!]: Myanmar

[@]: Madagascar, [_]: Kazakhstan, [#]: Portugal, [*]: Colombia

[&]: Egypt, [%]: Peru, [$]: Somalia, [(]: Morocco, [)]: Croatia

VAN NELLE (Blueprint) — Geometric modernist sans
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☛ THE SOURCE
A re-interpretation of the 1926 geometric sans serif alphabet system reproduction by Jacob Jongert, published in a 1930 sourcebook by N.J. van de Vecht. The geometric uppercase set of the alphabet system is what would later become the famous sans serif capitals which he used for lettering throughout many of his Van Nelle materials.

☛ THE FONTSTRUCTION
Attempt at making a convincing recap of the original alphabet by Jacob Jongert as it was shown in the 1930s sourcebook, and extrapolate that into a full functional font. The decision to go with a small grid sparked a number of limitations in terms of the design freedom that forced some inevitable changes. But the general idea sort of became not to make it a revival, but rather more or less a faithful revision. One that would still be instantly recognizable yet didn't necessarily had to be all about accuracy.

☛ —The small grid design made sure this wasn't happening anyway!

But, for instance, the most striking difference between the two fonts (their weight) in fact is such a byproduct for one of those limitations. Something FS's small grid couldn't properly reproduce, so VAN NELLE (Blueprint) has a slight stronger weight, making the font somewhat of a bold style version of the original. This in addition provided me with slight extra freedom to inplement a little personal touch for further manicure of the font's finer details. Which allowed me to cope with some of the optical clunkiness that come with a fatter face and the grid based design.

Besides these circumstantial differences, which were basically beyond my control, I've also made some intentional changes to make the typeface more practical to use. The changes include things like the significantly lowered ascender height, the slight different width for certain letters, larger tittle (dot above i, j & ij), and several more. despite these changes I believe it very much still reflects what Jongerts once invisioned for the system.

☛ SOME NOTES ON THE ORIGINAL AND ITS CREATOR
Jacob Jongert(1883-1942) was a advertising designer from the Netherlands. After varied studies, including being Roland Holst’s assistant and an acquaintance and colleague of S. H. de Roos [who brought the Arts & Crafts ideas of William Morris to the Netherlands and devoted his career to book design and typography] with whom Jongert experimented with several printing techniques and discovered graphic design as his ideal art form.
¶ In 1923 Jongert rolled in a unique and long-term collaboration with the Van Nelle company, where he became head designer, a position he held until 1940. The Van Nelle company had an extremely modern approach towards advertising (they even commissioned Cassandre to do a poster) and Jongert created for the firm a recognizable image with clear shapes, powerful letters and primary colours, totally Dutch avant-garde in style, and with a strict and rigorous approach directly linked to De Stijl principles. The corporate identity he created has become a milestone in the design world.
¶ The lettering, however, is the driving force that ties it all together. The style is a straightforward set of plain, mono-linear, sans serif capitals in a style that just started to come into fashion in the late 1920s, early 1930s with the rise of functionalism and geometric type design. Yet, while these ideas were already thrown out there, its clever simplicity plus the systematic and cohesive way Jongert implemented his lettering was unusual at the time. The square and minimal construction of the forms allowed the letters to contract and expand to fit any situation, yet maintain a consistent and recognizable appearance throughout the Van Nelle line. ¶ Something we only recently have learned to appreciate is to see his hand crafted system amid the current advancements in variable-font technology, which offers a similar kind of flexibility to typeface designs. A quality that certainly placed him well ahead of its time.

What I particulary like about Jongert's original is the stuff that is going on in the lowercase set of the alphabet, which are those quirky lowercase letter inventions that are different from the more traditional modernist sans, but sadly the lowercase letters were pretty much never used in his works.

I created a simple PDF typeface specimen for those who want to see the high-resolution preview.

VAN NELLE (Blueprint) Typeface Specimen - (Issuu)

​​Thats all Folks ☚

☛ Cheers

Its purpose built negative font with small overhangs to mask eventual gaps between blocks. Blocks are almost unified (separators and letters I,M,W and some greek and cyrillic are exceptions).

There is also lighter version of this font

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

Ever seen a Z like that?

ANTI-QUE — Asian calligraphy inspired
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Anti-que features a romanized lettering concept that was designed to mimic the stylistic properties of Asian calligraphic characteristics.

P U B L I S H E D   O N   N O V E M B E R   1 8 ,   2 0 2 5
╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾╾

PW-Blacker Grotesk — a heavy geometric sans-serif font with robust language support. Capital-only.

This font also contains full 3-square-root characters: √, ∛, ∜.

Fractions can also be typed in this font
Syntax fraction typing: [superscript][fraction slash][subscript]
Example: "¹²⁄₃₄₅", while "¹²" is a superscript, " ⁄ " is a fraction slash, and "₃₄₅" is a subscript.

Over 100 language support: Belarusian, Bosnian, Bulgarian, Chechen, Macedonian, Russian, Serbian, Greek, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Vietnamese, Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu

Please share your thoughts on this font in the comments.

A modular colour font inspired by toy bricks and soft plastic textures, suggested to use in large sizes.

PHOTONIA (Pro) - 70s future retro style
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70s style reverse contrast sans with future retro aesthetics, perfect for projects with a vintage sci-fi, space age or computer theme.

This is actually a refurbished and extended version of an older FontStruction I did back in 2019. The original PHOTONIA was a cool looking little work, but didn't quite made the most of its design concept. Inexperience and poor design decisions had led to inconsistencies and other flaws throughout the font. Besides those it also had a small character set that mostly consisted out of the basic Latin block and bare essential symbols & punctuation marks. But imo it still had quite an interresting retro vibe and the potential to be more. So I decided to give the old project some well deserved refreshments.

First I started eliminating the inconsistencies that were present in the older work, than I continued polishing and re-design / modify several characters hoping to create a greater overall unity to the entire piece. Once I was fully satisfied with this renewed improvements it was time to build and expand the character set towards a more complete lingual and typographic support.

➜ ⚠ Previous Version:
 ▶ Basic Latin only
 ▶ Minimal kerning

➜ ⚠ What's New Inside:
 ▶ Additional Latin and accented Latin
 ▶ Diacritics
 ▶ Many glyph alternative forms
 ▶ Additional symbols and punctuation marks
 ▶ Horizontal box drawing (page deviders)
 ▶ Typographical symbols
 ▶ Ornamental printer's characters
 ▶ 1680 stored kerning pairs

Cheers

SANS SERIFSCO — Humanist / Neo-Grotesque Sans-Serif

A contemporary neo-grotesque sans-serif design with regular weight.

I tried to add subtle diverse and nuanced visual elegance while still remaining minimalistic. Most significant feature is the subtle stroke modulations, distinguishing this from a more geometric style.

Designed to be versatile and suitable for a wide range of different purposes and optimized for legibility in small point size body copy.

The font was constructed on a large grid using linear interpolation (also known as faux-Bézier method). This allowed the most freedom for constructing more complex custom forms, curvatures and all the various stroke modulations.
The font has a total vertical height of 88 square grid units, this is including all optical compensations, ascends / descends and accents.

FORMALISMS - Modernist inline display type

Rigid square-based inlined modernist display style with incised (fake-) 3D effect, mimicing a quirky and non-logical take on twisted geometric form and sometimes folded appearance.

Some characters, but mainly symbols still need slight improvements, some are still missing as well.

The bi-linear stroke was incised at certain specific positions and had one or more (cross-)intersecting line segment included that connect the two colinear strokes. This is creating 2 additional extra geometric hyper-planes, and allows the option of including the illusion of looking at three-dimensional geometric objects.

But the way this is implemented into the design in fact obeys no relationship to any actual fundamental propeties and isn't necessarily a correct three-dimensional form, nor fully or faithfuly folded.

The glyphs also have somewhat of a monogram logo style quality

Hope you like it

Cheers

A basic sans serif font for coding, meant for small sizes (and it would look good in large sizes too, if it weren't for those pesky parentheses...)

TYPOGRAAF — Geometric modernist display typeface

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Typograaf is simple looking modernist style aimed for display use. It doesn't work well in a long line if text nor at smaller sizes. But perfect for large display work, logo's and such. The letterforms have several little nuances and multiple custom crafted curved parts with smooth (near) real Bézier contour quality.

So far only general concept plus some extra's was created, no multilingual suport for now.

Let me know what you think

Cheers

A nonogram font. Some variation between uppercase/lowercase letters, alternative 2/7 on < >, and an extra Y on ^. I originally made this in a 5x5 grid, but there were too many glyphs with multiple solutions, so I had to remake the whole thing. (You can still see the original style in the small numbers)

BACK TO THE FRAKTUR - Modular geometric calligraphic blackletter

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Calligraphy inspired design, that even though it's name can be deceptive, suggesting one in thinking it is a Fraktur derivative. Which is actually quite not the case, and as far as being a calligraphic Blackletter inspired work, the similarities between the two stop.

This is a heavily simplified and geometric take on the calligraphic style, with much more modernized letterforms as well.

It remains a WIP, but I'd love to hear what u think so far.

Cheers

Shorter externsion variants for letters can be found at their lowercase equivalents. No extensions can be found at: A - @, C - o,  E - {, G - }, H - #, J - ], K - \, L - [, N - %, Q - ^, R - `, S - $, X - ~, and Y - |. An underscore can also be used to make the extensions longer.

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.

BENGALIQUE - Contemporary grotesk type

A condensed geometric Grotesque style, that at first glimpse looks somewhat simplistic. And for the larger part this is true. The goal was to do a ever so slightly spiced up take on this 19th Century classic style.

At it's core, the letterforms have this strong geometric grotesque backbone that is easy to recognize.
While trying to preserve that unpolished characteristic classic Grotesque basic form, I attempted implementing some personal twists, hoping to make a more contemporary but faithful variation to it's crude classic renegade traditions.

Some of the more distinguishing features for this font are it's heavily condensed style, the somewhat quirky curvatures, overshoot and/-or tapered ends in certain 'sweet spots' on a glyph's leg or terminal.
At random some legs will also ascend and descend just a tiny tad bit, gently adding this extra layer of dynamic depth and playfulness.
Spurs are slightly tapered, counters, negative spaces are in mostly rectangular and do not mirror their convex outer curves, in fact the only concave curvatures within a partially enclosed negative space are those that have strokes intersecting or when a curved shape is used to replace diagonals.
(such as; "B, Kk, Ss, Xx, Y, Zz" numerals; "2, 3, 5, 8")
Note that a couple more unmentioned characters make use of concave curves as well to accentuate specific choices.
(such as; "R, t, ß, etc.")

Visual corrections and optical compensating was exclusively performed on the top part of the glyphs, not their bottom.

-- Some additional side-bearing and kerning is still required --

No filters used...

The font works best for 'Display Type' at most point size. In smaller quantities it can be used for 'Body Type' as well with some proper adjustments to the horizontal spacing. But, nonetheless the font's condensed nature, it's tight letter spacing and some thinner strokes still heavilly affect the flexibility for legible Body-Type-use.

Recommended size for Digital-Display-use is 28pts or higher, and bellow 20pts the font becomes unreadable in Digital-Display-use. But I hope you like it so far, and feel free to let me know what u guys think! ?

That's all for now folks..

Cheers