Paradoxy Effect, now with more dots.

Made by request.

*

Original size: 6.75pt

By request. This is the Shepard Tone of fonts - constantly rising and falling. Best viewed at around 2x Pixel size.

I was initially going to do a lowercase for this, but then the requestor changed their mind. So this being published as-is.

This is your medicine. YOUR medicine! So if you don't like the taste, maybe don't drink it.

Is it Serif or Sans? Western or Gothic? Double font or not? One thing is certain: This is not a time-travelling alien. Probably.

By request, a decorative font based on playing card suits. This will be used by a certain group of card players.

It is not the most readable design, but these requestors wanted it to be esoteric. It's meant to have a bit of a "secret code" feeling.

Experimental filled version of Pzydeco. The counter of "e" and all variations of it remains broken, so that the eye interprets it as "e" instead of "c".

I decided to make a design which incorporated the thinnest/lightest weight lines possible in FontStruct. This is the result; I'll add more if people like it.

These 1/32 lines cannot be accurately nudged, so a unique line has to be built for each vertical position where I want a line. These lines also cannot be centered on a place where two curves meet (such as the middle of B or R). This introduces some unintentional asymmetry to the design, but I like it, so I'll keep it.

There is also the problem that forming a diagonal line of the same line weight is nearly impossible. While angled 1/32 lines can be formed, their angles are all close to 0. No method exists for making a line which slants at 45 degrees while also being 1/32 weight. So, I had to make some thicker lines in certain areas. I don't think they detract from the design, but if you scrutinize this enough, you'll notice them.

Just another doodle!

Actually, all my fonts are doodles... but don't tell anyone! :D

This is dedicated to everyone who complained that they couldn't read my other fonts!

Mechanical Horse resembles the engravings which might be found on a mechanical horse such as the one from Vampire Hunter D. What qualifies me to say this? Well, I watched Vampire Hunter D a couple of times and have been speculating wildly for decades, which is more than enough time to get good at it.

Please exercise caution when handling Mechanical Horse. Its edges can be pointy.

What would happen if we combined a segmented display with a CACTUS? This. This is what would happen.

I took "Hypnoverse" and applied handwriting techniques to it. These figures are more like those I draw when I write with a pen, though still very distinct from my actual handwriting due to the low resolution.

This looks very natural to me, moreso than any other 4x5 design I've seen. It needs to be 2x original size or larger for the best effect, though, since its forms aren't nearly as open as the others. This may not be a problem for you... maybe I've just been staring at it too long...

At this point, I am confident that none of these glyphs can be improved further. The best they can do is change to suit someone else's preferences. Would you draw a particular glyph differently? If so, please show your ideas. I have gone over every 4x5 glyph several dozen times through as many designs, and think I have found the best solution for each - but maybe I'm wrong! I am especially interested in solutions for m and w; I have tried compressing and truncating them to be 4-wide before, but never successfully got anything that LOOKED like an m or w.

By request, a small, sporty, polygonal, uppercase serif font. The name is inspired by Hammer from Castlevania: Aria of Sorrow. This is quirky, strong, and from nowhere - just like Hammer.

This design seems best for signage, woodcuts, and the like. It carries a bit of a "sports" look too. The numerals and symbols are sans serif to make them look more modern. The asterisk is a hammer. Is it Hammer's hammer or Hammer's brother (who is a hammered Hammer Brother)'s hammer? No one knows.

A continuation of ideas present in Limbus, with a bunch of new ideas for good measure.

Here we have a filled-counter pseudoserif pseudostencil that is also an IVO design at the same time! It also has a bit of a "double font" look going on if you look at the negative space.

*

Design Rules:

1. Internal negative spaces of glyphs will be filled such that a 0.5-brick-wide void exists between the filled space and the glyphs themselves.

2. When a glyph's horizontal line intersects with the filled space created by Rule 1, both the filled space and the line will be broken.

3. Vertical lines will only connect by two tapering curves or by the implied connections created by filled negative space.

4. Filled negative spaces may only join with the outer perimeters of glyphs.

I saw Hypnospace Outlaw being played and the in-game browser font made me feel a bit neurotic. Here's a font that looks more like Micro Machina than it does Hypnospace Outlaw, but watching that game made me create this design, so I'm still calling it Hypnoverse.

To make this font look more distinct from other 4x5s, I condensed some glyphs (Lfjrtx) and altered others (QVbdgjkmpqvwy0469). These changes make this font very condensed and extremely easy to read at original size, even when sitting way back. However, they also make it slightly worse for terminals and chats in my view, since now smaller sets of glyphs are the same width (lines won't line up as much since more words and numbers will vary in width). So, whereas Micro Machina has a bit more regularity, this has a bit more style and takes up a bit less space.

If you came hoping for the actual Hypnospace Outlaw font, I'm happy to FontStruct it if asked. (EDIT: It has since been done by another user.)

Ever since I saw jonrgrover's "Heavy Chain", I wondered what forms of Celtic knotwork and chainmail weave could be created on a small grid. This design contains all the ones I have found so far. Feel free to clone this or make suggestions!

All these designs are 1x1 or 2x2; I made larger swatches to show how they tessellate and can form even larger shapes.

If you clone this, I recommend opening another new FontStruction at the same time, then copy-pasting the knots you want from the cloned project over to the new one. This will help reduce the chance that your creation gets corrupted.

An experimental take on Laconica with Celtic knotwork. I'm not sure how to balance it better than this... any ideas? I'll do all the glyphs once I have a complete set of solutions for them.

A font resting on some columns. This was a doodle that became an experiment, so there was a lot of iterating.

I made the columns wide enough for a variety of different designs to be able to stand on them, so feel free to clone this and try your own!

By request, a semibold outline font with a halftone drop shadow. Although Pixel Optimized, it's made for large size display.

IT'S-A ME, IMPRESARIO!

A quirky Pseudostencil design with a central horizontal slot going through it. The "slot" is 1 brick tall for lowercase and 2 for uppercase, and becomes a vertical slot for numerals and certain symbols.

This is named for the cowboy and lasagna emojis. These were repeatedly added to then removed from several popular chat clients and websites. Changing emoji standardization or government conspiracy? YOU DECIDE.

Guess who made another font with diamonds? This uses both additive and subtractive techniques in a minimalistic way to make a moderately readable design. Best viewed at extremely small or extremely large sizes.

Asymmetrical alien techno stencil.

This uses some experimental techniques, of course, but I'm not sure how to concisely explain those. Let's just say that each type of line bend and line connection has a rule associated with it. These get naturally modified by the structural asymmetry the font has so that simple rules appear in many forms and variations.

A monospaced version of Barcade Brawl that has been modified to work well as a roguelike font. Not every glyph is centered yet, but all the Basic Latin and More Latin ones are. I'll get to the rest soon!

A few glyphs (such as #) are modified to break the matrix so that they link together. This is because these glyphs are used to form continuous walls and other structures.

Note also that this design uses a 7x7px matrix which is monospaced at 8px to create 8x7 tiles. I have placed a stray pixel on an unused glyph to make 1px of extra line spacing occur so that the final tiles are 8x8. The preview here onsite adds another px, so it looks slightly out of square. The sample below does too, because it was made before this fix was implemented. The fix may have also taken a few glyphs slightly off-center; I will check them all soon.

I was working on another spinoff of this that was high-resolution rather than pixel, but since this font has the same LC and UC, I might transplant those glyphs to this font as well to make it as multifunctional as possible. That will more than double the work of making an already big font, though, so it will depend on whether this font gets used by others. A few game developers already use the original "Barcade Brawl" so there is a possibility...

*

Original size: 5.25pt (use multiples of this size for pixel perfection)

An attempt to make an esoteric form of Latin which is governed by the same amount and extent of structural logic as normal Latin. In other words, Latin that is weird, but makes sense while being as readable to the initiated as normal Latin is. It's a design that is weird in order to make itself easier to read, not harder.

This is a borderline IVO design, not because of its appearance, but because it sometimes requires the same set of visual considerations to interpret.

A serif font wherein almost every glyph has serifs and the serifs determine a glyph's shape. All lines that are not serifs or forming a vertex with a serif are isolated. This is a different technique than I used for Lonewolves Guild and Nurvusystem.

This is a borderline IVO design, not because of its appearance, but because it requires the same set of visual considerations to interpret.

A font that walks a thin line, even when it walks on its hands.

This font tries to use the half-arc brick to its greatest potential. Since this brick isn't the same width as the others, it causes the thin outboard lines to be cut a bit short. This in turn causes the eye to interpret the corners they form as rounded, even though the curved parts of the glyphs themselves are very small. In this way the half-arc brick helps create curves and harmonize them with angles.

An alternate, more asymmetrical & stylized Madmouse.

This could be considered an avantgarde spurless or mixed-spur design. Some letters have spurs and some don't. This is entirely based on the placement of the diagonal lines, which were placed so that they would slant up and to the right. "s27" are obvious exceptions.

An even smaller and more stylized take on Madcat/Madkitten. It isn't really a Decolike anymore, but it is readable at smaller sizes than almost all my other designs!

This uses some compression/truncation tricks to fit glyphs into a smaller grid. Those tricks are usually used in pixel designs (such as Chlorophyte) but I think they worked out well here, too!

A stemless and spurless Eviolite. It has a "utilitarian" look which I enjoy.

By request, a high-contrast, blocky connected-outline font. This will be used in some Roblox mods.

A few glyphs are a bit quirky compared to the rest (DQ7?= and any glyph with a median line). The requestor wanted them that way.

By request, an abstract, condensed, and slightly futuristic thinliner stencil.

This is similar to a fusion of "Migrator" and "Aegris Outline".

The metrics for this one are not finalized yet. Various versions of this are being tried out, and the feedback will affect how this font changes. (Presently, the overall spacing is a bit wider than the internal spacing of glyphs like “”).