The serif variant. Very fun display font.

This was my very first font, that I made last 15st March 2024 and first published with my student account.

Still very very proud of this baby that I created, even with all the noticeable mistakes. The kerning and spacing isn't adjusted at all......

There is also a serif variant that is lots of fun. A very playful one!

BODINI BALWAUM (Regular) — Didone-style 18th century modern serif
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Dobini Balwaum (Regular) is a Didone, or modern, serif typefaces, inspired by the works of Bodoni, Didot and Walbaum.

This is the solid (or regular) style for the Dobini Balwaum typeface.
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In an attempt at getting that typical sophisticated look, the letters have been provided with a stylish mixture of various different designed Serif attributes. 

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═════] Type elements ]
Serifs
 • Foot—abrupt (unbracketed)  bilateral hairline
 • Spur—adnate (wedged)  unilateral reflexive
Terminals
 • ball/beak/barb/flag/ear/finial/tail  terminals & spurs
Apex
 • pointed cup

═════] Glyph alternate forms ]
Letters:
 • a & g—double- & single-storey"a" and loop-tail & fish-hook"g" sets
 • K k & R—curved & straight legged letter alternate sets
 • u & w—unilateral reflexive & bilateral hairline alternate spur sets
 • x—alternate asymmetrical lowercase letter
 • J & j—narrower glyphs alternates
 • t (2x)—stylistic alternates
 • s—alternate form with slight wider top section

═════] Text figures ]
 • (default)Old Style—(non-lining)
 • (alt 1) Modern—(lining)
 • (alt 2) "Didot" Old Style—(non-lining)

═════] Optical corrections ]
 • top/bottom curve overshoot
 • tapered transitions for shoulders & arc of stems
 • stroke-weight compensation for horizontals

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I hope you like it so far,

Cheers

Gr4ftY presents: 

Copilot

if you have any suggestions for improvements, feel free to comment them down below!

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

Gr4ftY presents:

SCORN

“Does this font look trustworthy to you?”

This took a while to make but I’m very happy with how this turned out (even though this is far from finished!)

If you have any suggestions for improvements, please tell me in the comments and I will try them out if I can.

❤️fs

See more:

https://fontstruct.com/fontstructions/show/1690394/wandam

JS-SANS ROUNDED ― Geometric Sans-Serif
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Another font addition to the ever evolving and growing collection of revivals and inspired works called LETTERS OP MAAT, a project celebrating and trying to recreate the typographic contributions originally designed by Dutch graphic designer Jurriaan Schrofer. This time I did a revision based on a alphabet system Schrofer originally created somewhere during the late 1960s.

Its a simple, yet solid and clean looking geometric sans-serif style with medium contrast on its vertical axis. The alphabet as it originally was created by Schrofer featured a Lowercase (A-Z) character set with Small Caps figures (numerals) only, no symbols or punctuation marks were included.

This particular lettering was used in many of his work, such as book designs, brochure and post-stamps, so there is no shortage of resource material on the internet for this alphabet system. Over the course of its existence it was constantly evolving, and Schrofer kept expanding the alphabet system with additional new weights and slight variations. But during his time with Mouton & Co. the concept basics for this sans system became one of his workhorse letterings, and saw widespread application, with appearances dating back as early as 1968, when Schrofer developed the designs for the 1969 Dutch post-stamp.

I've already done a revival for this alphabet back in 2018. This was during my first year of joining FontStruct, so therefore the first revival attempt now seems more like an insult to Schrofer's brilliance rahter than a tribute.

Pointing out some of the flaws present in the old recap:

Certain key design characteristics weren't extrapolated properly throughout all of the required letters or were missing completely (imo. this is one aspect of a font revival the designer at least has to do right). Its Uppercase forms looked as if they did actually belong to another font all together, back then no additional Lining figures were included that would suit the newly added Uppercase letters, and only a handful of very poorly crafted symbols and punctuation marks was included. As a matter of fact, it was only just the second Schrofer work I ever digitalized. So yeah...

— Now five years later the time had arrived for the rematch.

And this time I wasn't going to enter the tekken as the new farmhand or a lazy dog. But came well prepared to battle that grumpy wizard as a quick brown fox. Five boxing muscles flexed and sufficient toxic brews at hand, but above all.. A postgraduate academic with a Master's degree in "DIY FontStructivism" at the university of Home. So there weren't many very exquisite codfish eggs to judge my fizzy vow. Jack proved strong, but picking only six quinces, unable to quickly fax Judge Pat, he eventually been left a puzzled women, and so I jumped jewels when I was crowned the Sphinx's evil Queen Fredericka.

— I think that is summarizing it all very neatly.

But, just in (lower), case, here is a "Give me Gum-Gum-" explanation for all you rocket scientists among us:

For this revision I only used Schrofer's original red / white alphabet sample composition. Sticking with just one resource made sure I kept a non-biased vision for extrapolating the remainder of the character set. This simply because shear amount of variations that Schrofer had contributed to this alphabet system would make it difficult to consistently combine everything into one complete work.

I reproduced and included all Schrofer's lowercase characters and numerals as were shown in his original composition. From that point out I designed the rest of the font myself as faithful I possibly could. Yet in the end two major change were made to my recap in relation to Schrofer's original that aren't typically very desirable in a revival and therefore not recommend when strictly aiming at reviving a original work, but in the case of this Schrofer alphabet in terms of how it was provided by himself it was rather wisdom than that it was madness.

Let me explain what changes were made and what effect they have in terms of to what extend it deviates away from technically speaking still classifying as a revival. First of all, his original Lowercase letter f is very interruptive in a line of text. Up to a point that is really taking a toll on its overall aesthetics. So I modified the original ever so slighty, basically all I did was decreasing the length of the horizontal crossbar a tad bit so that it would allow additional kerning for the character to eliminate the issue it innitially created. I relocated Schrofers original form into the Full Width Unicode block as alternative form.

The other major change was essentially the complete redesign of numerals forms. I replaced Schrofer's original Small Caps figures with a new set of newly designed Lining figures to be the font's default figures, making the default text figures a far better match for the newly introduced Uppercase alphabet letters. Schrofers Small Caps forms are still in there, but now relocated to the Full Width Unicode block as glyph alternative forms as well.

Both of which affect the font's innitial physical appearance, but thanks to some rearranging of segments within the character set neither will have effect on the reviving part of the project, since all of Schrofer's original letterforms are still included and available for use. But this was done to bring a certain level of harmony and logic to the piece from a typeface-standard perspective. So technically this would classify SANS ROUNDED as revision and not a revival. Which to the broader sense is correct. But it also still technically could be used to function as a revival. So perhaps it could be both at the same time?

Than in addition to that I also provided a small number of glyph alternative forms that are located in both the Full Width and Private Use Area 1 Unicode blocks.

Extra alternative glyph forms are:
 ⮻  ａｃｅｆｇｊｒｓｔＶｖｙｚ
 ⮻  4× experimental lowercase letter 'g' alternate forms
 ⮻  small latin letter 'Eth'

I hope you like it,

Interrested in more of my Jurriaan Schrofer inspired? Please take a look a my complete collection of Fontstructions tagged with STF-LETTERS OP MAATfor the full catalog of fonts I contributed to this project so far.

Cheers

LUCERNA — Neoclassical stencil serif

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Lucerna is a modern neoclassical stencil serif in the Didot style.

Simple & Elegant...

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Created primarily with the focus towards luxury fashion and marketing brand-oriented projects, aiming at luxurious and sophisticated design projects.

Although it’s a true and fully functional stencil, design focus wasn’t so much
concentrated around the 'functionality' part of the stencil concept. Instead it was more focussed on the stylish implementation of the concept and on making sure it looks pretty.

The stencil concept was achieved by way of stroke omissions. Some of which are large and drastic, leaving only critical parts of the stroke intact, while others are more subtle, like those detached crossbars or cuts seen in the hairlines.

Thin transitional bracketed serifs and a mixture of various sized teardrop- and pointy terminals, combined with the high stroke contrast, these make up for a sharp and interesting looking font that provokes this thoughtful stencil letter concept.

There is a lot of subtle dynamic height deviations going on, hoping to tune in to more of a lively rhythm, and introduce some playful characteristic properties.
Minute changes to optimize optical performance have also been implemented, such as overshoots. The relative low cap-height makes up for a somewhat short and stocky uppercase quality. Its accompanied by a relatively tall x-height that results in a fairly large lowercase size. Due to the lower cap-height of the font, the short ascenders parts of the lowercase letters still exceed above the Cap-Line, preserving some of that otherwise lost white space, improving legibility.

The design's missing segments and various random detached bits 'n pieces aren't as functional in smaller sizes. Making it harder to read or distinguish detached letter elements from puntuation marks. So it is best used for display purpose.
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A small number of glyph alternative forms are included as well:
 • 2 forms of lowercase letter a:Single-storey and double-storey (default).
 • 2 forms of upper- and lowercase letters Ss:Pointy terminals (default) and teardrop terminals.
 • 2 forms of upper- and lowercase letter Tt:  Uppercase letter T has two variations of pointy terminals, normal angled and extra angular. Lowercase letter t has alternative form with teardrop shaped terminal to use at the end of words, and can add a slightly more stylish look. The default version has better proportional width with just a small non-decorative curved terminal, this default form has smaller width for a improved horizontal text advance.
 • 4 forms for lowercase letter g:Just 3 additional extra slightly alternate forms.
 • 5 forms for lowercase letter f:Bracketed (default), curved, teardrop narrow, teardrop extra narrow, teardrop wide.
 • Extra set of Copyright symbols:Cap-height size and x-height size.
 • 5 forms of Pilcrow symbols:Just 4 additional extra alternate forms.
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It covers most basic Latin languages, 65 in total so far.
Several symbols and punctuation marks are included. (probably more later)

I hope you like it so far,

Cheers

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

LEOPOLD PRO (Sans-Regular) — Modern geometric condensed sans
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This is a minimalist, geometric sans serif font with medium contrast and a strong compressed look. The modern condensed forms make up an elegant and classy looking font.

The overall design is a mixture of contemporary design with antique inspired elements.

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

Cheers

HeavyComp entry

With this font I aimed to make a visually strong font that could also be used in longer text (a la fonts in Mega Man games, which were one of the inspirations).

A modular sans for bold headlines that stand out

Inspired by the shapes of G1 Decoreus. Vertical serifs only (not sure if that makes sense, but seems to work)

Thanks BWM For The Name Idea.

Art-deco style font developed from the letter s (which wasn't that easy to make).

Fonte criada para exercicio acadêmico dentro da matéria de tipografia. Aproveite!

See more:

https://fontstruct.com/fontstructions/show/1189697/macoffice_2004

https://fontstruct.com/fontstructors/1380715/kai-beckman

It`s saving unregular and futuristic look of original font with contract forms.

See more:

https://fontstruct.com/fontstructions/show/1727744/tokyo-rumble

See more:

https://fontstruct.com/fontstructions/show/1311777/bansheebeat

https://www.fontstruct.com/fontstructions/show/1619533/franklin-100

Inspired by a type identification request over at Typography.guru.

During developement, the tool has taken over, also helped by the scarcity of letters available in the original, making the design more sans than serif, and with strong MICR vibes in some places.

The name means "shoe shop" (also shoe repair or shoe making) in Italian.

At the moment the language coverage is limited to Western Europe.