Fontstructing since | 3rd February, 2018 |
Fontstructions | 718 shared, 35 staff picks |
Shared Glyphs | 92942 |
Downloads | 18389 downloads made of this designer’s work |
Comments Made | 1585 |
Italic Dynamite! It's so slanted that using this font and turning italics on does nothing to change its appearance. My software doesn't know how to slant it further! It also gives me a mild sense of perspective or vertigo depending on how I look at it...
An improved version of Derpberd which remains true to the original style.
It's still very casual-looking and very well suited to comics and pixel art, but it's also more regular and readable than before.
This is a clone of DerpberdA variant of Tangereen 3. Hard to read, but has a certain ornamental appeal.
Lately, I've been busy learning 3D modeling, vector art, and digital art things. So I only envision myself making more FontStructions when I need them for an existing project. I've already done all the designs based on my own past work - or at least, all the ones that are possible to create here.
This is a clone of Tangereen 3An attempt to make the cleanest-looking headliner possible in 3x3.
Recommended: Use with kerning turned ON!
See also: Empty Clip, Empty Magazine, Misplaced, Slabberton
Version 1.1
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An alternate take of Diamond Eyes with circles replacing the 2 smallest diamonds. No brickswapping used - many diamonds shared bricks so I had to place the circles by hand. This permutation introduces more texture, solidity, and complexity to the original. Hope ya like it!
This is a clone of Diamond EyesWelcome to Orwellian Barcode Prison, antithesis of Chicken Wire. The only thing to do here is squint.
An alternate system font for the Virtual Gremlin, a software-based games prototyping system I wrote in 2016-2017. This font ended up never being used.
This was only able to be recovered due to the advent of a lucky screenshot which a friend posted online. The font was in a spritesheet which was being shown off, so I was able to FontStruct it!
I made a blocky, industrial sort of style, then added art deco-style line width variation. Then, a couple of tech lines here, a couple of details there, and SHAZAM! We get these 1950's-era raygun-toting space race zippity zap letters. It's a font Marvin the Martian might use...
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Original size: 7px (use multiples of this value for pixel perfection)
A font made to the height of the visible field when the FontStructor is zoomed all the way out on my screen. I've always wanted to make something that vaguely pushed one of FS' limits - in this case, the height of the field which I can observe without scrolling.
Well, I could've made this even taller, but I wanted it to be somewhat useable at least. :D
This was originally a pixel design, but then I changed my mind and converted it to high-res. That gave it a more architectural look.
Acrophobia with ratios changed so it isn't quite as tall. There is now line width variation which slightly enhances the "engraved" look this design has.
Unlike its predecessor, this one works well as a pixel font!
This is a clone of AcrophobiaExperimental 49-segment display.
In making and studying other segmented displays, I noticed they tended to have strong-looking right angled lines but weak-looking diagonals. This is my attempt to make a design where both styles of lines look more appealing and join together more solidly.
Written language of the Skalmish, people within my simulation ESOSVM. These were the people initially used to colonize the universe "Rskalmwayt" wherein several stories take place, including Dheen's Folly and Trap Farmer Brer Brah. 5132 random selections were taken from Oinai stock and placed on Planet Fyromr, and their descendants became the Fyromrese. Tandem AIs then began to refine and alter remnants of Unified Oinai language into this.
Glyphs of this style can be seen on cave walls, objects, signs, records, etc. dating up to the time when I began to intervene in the workings of the Rskalmwayt simulation (ESOSVM Canonical Year 16573440000). They were always pixel art - no high-res renditions of these shapes were ever created, so there's ample room for reinterpretation.
Like most Runic languages (including Elder Futhark), these glyphs have a specific ordering associated with them. Additionally, in written Skalmish the glyphs which make up a word are always written in alphabetical order. Glyphs have no associated sound components. They were used to record gestural communications, so there's no way to speak them. Had this language been spoken, however, it probably would have used a priority-based system wherein certain glyphs were pronounced before others or preferentially stressed. Kind of like Thai language, but way more convoluted.
A compressed, squareish microfont. 4x4, monospaced, no wasted matrix.
I like how this one uses all the space it occupies. Glyphs like ijl1 fill out the words they're in rather than creating voids. Also, i looks kind of like a lit candlestick, and I like that.
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Original size: 3pt (use multiples of this size for pixel perfection)
Recreation of a font from "Proxima", a 2000 public-domain homebrew SHMUP game by Alan Obee for Game Boy Color. This font is used on the title screen and high-score screens (though the high-score version is built of tiles and looks much more detailed).
.#$!? are inventions - not present in the original font, but useful nonetheless.
A 5x5 design made to be very open and airy.
It has a much higher degree of internal consistency than most of my other designs. This was achieved by opening up the forms (A,E,F,J,K,P,Q,R,W,X,Y), minimizing the use of diagonals (A,K,N,X,Y,Z), using a soft 1px break to indicate curves (B,C,D,G,O,P,Q,R,S,U), and squaring off a few areas that are normally angled or rounded (M,N,S,W,Z).
"Ash Isotope" is an anagram for "Apotheosis". Bit of an in-joke between friends. :^)
A cipher used by robots in my game "Anime Girls vs. The Cavemen". It's a way for robots to communicate in plain sight without organic lifeforms suspecting anything.
The robots are repositioning the dials on electronic devices (including themselves), and the dial positions are being used to encode information which can be read off by other robots. The same is true of the VU meters, indicator bars, etc. - the robots adjust a device's parameters until the meters are operating within a given range.
The actual mapping of symbols to glyphs is scrambled in every game. Additionally, the robots speak to each other using a language that resembles Assembly. It's up to you to scramble these when coming up with your own cipher...
Since the original art style for this game used chicken-head style knobs on the electronics, this gets the amusing name "Chicken Head Cipher".
Original size: 6pt (use multiples of this value for pixel perfection)
A work in progress, much like its parent font "Sonder Slab". More glyphs and improvements will come.
This is a clone of Sonder SlabTelos Unicase with overzealous antialiasing applied to it. It looks as if it were automatically antialiased by 16-bit hardware - a bit smudgy, almost pencil-shaded. Check it out at 2x Pixel size!
Despite its simple looks, this font is just about the densest thing I can create on a 5x5 grid without obfuscating the letters themselves.
While using this font I discovered some unforeseen uses for shaded styles such as this. Since the "antialiasing" occurs in only one shade and never overlaps or replaces solid pixels, it can be easily mass-selected. One can quickly and easily recolor sections of the font, convert it to the non-antialiased version, or clone the layer the translucent pixels are on and achieve more interesting effects.
This is a clone of Telos UnicaseThe main text font used for the laptop variant of the Mega Duck game console, a device that usually came in a form very reminescent of a Game Boy. I discovered this device and font through Ashens' YouTube video on the Mega Duck.
I like the font's vaguely Art Deco stylings, so I'm preserving it here.
Note that since I don't own a Mega Duck myself, I am unable to see every glyph. I had to come up with a few myself. They're consistent to the style but may not reflect the look of the actual hardware. The system does seem to have excellent language support so I hope a Mega Duck owner sees this...
Also inconsistent to the actual font is the spacing. The original looks like Monospaced 8px, but the width of "0" makes this impractical.
Finally, bear in mind that each "pixel" on the Mega Duck had lines of separation between itself and its neighbors. I've changed the brick size to 0.8 in an attempt to simulate this. It takes an immense size to accurately reproduce the grid, so I consider this design to be in the High Resolution Pixel category.
A tiny font made for pixel art tutorials and streamer use. The inspiration comes from old art of video game controllers which I used to make, in particular the letters ABCLRXYZ which I drew many times on many controller buttons. The more complex letters (B,E,M,W) take on slightly abstract forms for neatness' sake.
Since these glyphs are all 4x4 unicase, compositing them for use in Fontstruct tutorials might save you a lot of work. Feel free to clone this for such a use.
Original size: 3pt (use multiples of this value for pixel perfection)
See also: Four on the Floor, Glyphstamp 1x1