V1.1: The More Latin is in progress.

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Another doodle... Well, shall I continue this one?

I sort of designed myself into a corner with the uppercase, by not using the same grid size as the lowercase. But, this choice led to an interesting and unique look so I'll keep it.

Version 1.1 - Added Polish.

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A font for times when Immersive Mode is turned off. This is used for documents and signage within the Euphedoran Extradimensional Research Institute situated in Euphedora, Greater Azwelkeland, Planet Ashr within ESOSVM.

EERI is known for Fengmiao Fukota, Salva Dheen and Triste Marinan, three of ESOSVM's most-learned and chronologically oldest AI characters. The lattermost of these is often consulted (through a software called MIDAS) for analysis which I use to improve the readability of certain fonts.

Small-grid doodle which creates new combinatorial forms.

I considered this design rather rough and unappealing until I gave it negative spacing. This caused the forms to merge together in unpredictable and interesting ways. The lesson here is that sometimes the metrics, not the aesthetics, are what "make" or "save" a design.

A harsh 2-in-1 pattern font.

Semiserif semispur minimalism.

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This design uses a few novel glyph-shapes and techniques to achieve its look. Most notable of these is the serifed a which lets the serif protrude to the right. I avoid this feature in almost all designs, especially pixel fonts, because it adds an unnecessary 1px of spacing - but for this font, the feature can be included without changing anything for the worse. Many other glyphs have this same sort of protruding serif/spur, and the slanted geometry of the serifs/spurs affords them a look that "retreats" from neighboring glyphs, rather than seeming to protrude into them.

Version 0.3

A small-grid font with character.

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Design Rules:

- No angles.

- Asymmetry should be present wherever feasible.

A flat-topped Decolike. This was a difficult style to work with!

V0.2.6: Finished Cyrillic.

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A small scale faux-bezier design with a cutout-esque look. It offers different advantages at different sizes. Most glyphs are legible down to 4pt.

As this design evolves, it gives me an increasing "board games" feeling. This design seems very well-suited for board game parts, especially cards and smaller plastic pieces.

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This has a few notable design features:

- Asymmetry helps keep letters like bdpq from being confused for one another

- Serifs and flags accomplish the same thing for groups of similar letters such as ce and ftſ

- Semiserif style helps reduce the need for kerning to almost zero

- Simplified polygons and counter shapes help pixel optimization

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See also:Cartoon Riot

Experiments in structural dis- and re-connection.

Revisiting Celosia, this time with faux-beziers instead of pixels.

Alternate @ design on ©.

Font with a "light rays"/stained-glass effect.

THE MOMENT YOU STEP INTO SPOOK MANSION, YOU REALIZE YOU DONE GOOFED UP. THE DOOR SLAMS SHUT BEHIND YOU AS SCARY PIANO MUSIC BEGINS TO WASH OVER YOU AND TERRIFYING KICK DRUM SOUNDS BEGIN TO PUMMEL YOU. WITHIN MOMENTS, YOU ARE DROWNING IN A SEA OF EERIE AMBIENCE. "WOE BETIDE THE FOOL WHO CONSPIRES TO TAKE MY RICHES!", SHOUTS A GHOSTLY VOICE SOMEWHERE BEHIND YOU. YOU TURN, BUT NOTHING'S THERE. BOO! LOL....................................................

An avantgarde serif with a mild horror theme. It takes advantage of the properties of antialiasing/text smoothing algorithms to render a convincingly handmade aesthetic.

Making attractive, consistent, nonpixel serif designs at this grid size is quite a challenge. Making them look handmade is even moreso. I've tried that many times, but this design is the first such one I felt was truly usable. It doesn't quite look typewriter-esque, but blends well with other designs that are.

For this I used many different serif shapes, with each one depending on how the line it was attached to wanted to bend or terminate. This is in contrast to most other serif designs I've seen, in which the serifs themselves are more consistent in shape. I decided against faux-bezier curves for this, because they all looked way too polygonal. I think this is one of few cases where a rectangular O and S enhance the overall design rather than weakening it.

The original Halberdia as it evolved from from 0.1 to 0.3.

Version 0.5

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A font made for a Terraria mod. It gets its name because parts of it remind me of halberd, partisan, and/or axe heads. I designed this to have the vaguely authoritation look of a Didone as well as a borderline-gaudy look that prevents this from being taken as seriously as other Didones. These changes lent some much-needed character to the prototypical Didone from which this design evolved. The uppercase letters are more heavily ornamented, as if to suggest that they are letters from an illuminated manuscript.

The main texture is a diamond pattern inspired by vent holes in medieval armor. These were often made with a square punch, and help the font look more handmade.

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Notes

The wider letters are incised, which seems to lessen their perceived wideness by breaking up the shapes. For me this effect lent a more natural flow to the reading.

The ornamentation rules are complicated and factor in lettershapes, English letter frequency, and the existing design parameters. One thing I can concisely explain is that glyphs which normally look fairly plain are ornamented to such an extent that they make others look plain instead (CGJLT1 among others).

A semi-hollow pattern fill version of Graphene. Made for a friend.

The original turned out to be great for vector design, but didn't always play well with stroke outlines. So I made this.

A 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.

Paradoxy Effect, without the Effect. Quite a drastic transformation!

An experimental pattern-fill design. Check it out at 2x Pixel size!

Supports Dutch, English, and German at present.

I finally made a folded-/ribbon-style design. This one contains a number of experimental techniques. Most notably, the swept parts of glyphs are allowed to extend beyond the letterwidths and sometimes even the baselines. This enhances the sense of movement, creates some interesting linkages, and reduces the need for kerning.

All of these shapes can be constructed with paper or ribbon, although lots of clever folding tricks, doubling, and pinning down/securing with glue would be required.

Alternate tilde on "±".

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Chamadarya is an Integral Artifice (synthetic universe) I created for the ESOSVM simulation in 2013. It's a place dominated by vast stretches of open sky punctuated by extremely tall mesas and plateaus. Most of the buildings and temples there are made from chrysoberyl, which is extensively engraved, often with a lettering style that looks much like this. Of course, that language is non-Latin so it looks nothing like this design.

Third iteration of Tangereen with a bit of Paradoxy Effect. This one is rather fancy, so probably best used as a Display font.

The center portions of these glyphs make me think of sliced oranges and moon phases. They could act as cabochon settings, as well! So you could use these shapes to make jewelry set with a birthstone, monogrammed pendants/insignia, and so on.

A continuation of Tangereen. This version took a lot of figuring out and a lot of changes, both aesthetic and structural. I managed to make it different from other double-line designs like Glitzfang and Junglira while still keeping it simple and cute.

This is used in FS Tutorials, FS Idea Soup, FS Obscura, and most recently, AMFA's 3D printed parts.

A design based on loops and dead-ends.

An experimental design using 1/8 weight lines alongside 1/16 ones. The 1/8 lines are the smallest that can be accurately nudged. Centering them is still a problem at times, and I need a few impossible composites to perfect the glyphs ABEFHKQRXYijkx34789, but overall I'm quite fond of how this doodle turned out.

A design that combines tropes from fantasy, sci-fi, and sports in a subtle and pixel-optimized way.

Structurally, this looks like a high-res version of Marengi Mk2. There are still plenty of differences between the two, but since they seem equally readable to me, I'm tagging this as a chat font.

A design with small caps... by which I mean the caps are lowercase :D

A design that combines decolike asymmetry with a double line concept. It also incorporates some experimental methods to unify the wider glyphs (mw@#™, etc.) with the others, by allowing the middle sections of these letters to have both the single and double lines. This results in a look that is at times architectural and at other times almost like loopy cursive.

The new Eyeball Kids™ from Pixel Kitchen® are the best way to get your child interested in experimenting with eyeballs. Color 'em! Italicize 'em! Throw 'em into oncoming traffic! Abuse 'em all you want because EYEBALL KIDS ARE ETERNAL.*

! ! ! DO NOT FEED EYEBALL KIDS AFTER MIDNIGHT ! ! !

* - Eternal under normal use conditions. See the enclosed manual for terms.

A design which uses two crosses in the counter shapes of most glyphs.

This started out as a pixel demake of "Refollte", but was then metamorphosed into another high-res design.

INGREDIENTS: Triangles, Distilled Water, Orange Juice, Citric Acid, Powdered Unicorn Horn, Metaphlogiston Clef-21 (to preserve optical clarity), Waifu Tears.

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- - SHAKE BEFORE ENJOYING - -