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.

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 - -

A font which uses some custom macaroni bricks. This one has the same kind of structural asymmetry as Phenomenologist. Angles and corners on the left are almost always sharper than those on the right, which gives glyphs a structural asymmetry as well as a sense of rightward momentum. This technique also imparts variation to some otherwise very similar letterforms (bdpq, mw, sz).

This is named for a species of android from Doctor Who.

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Other design decisions:

- Make the ascender height shorter than the uppercase

- Use squares for dots/diaresis and circles for punctuation, so that they are more quickly distinguished

- Allow the sharp curve and gentle curve to swap positions when it's beneficial to the glyph (BX8&)

- Incorporate angled lines into several glyphs so that none of the glyphs which have them seem out of place (SZsz012569*~$)

- Ignore the other design decisions for glyphs which need a standardized look due to their use in programming and other syntax-based forms of writing (most symbols & punctuation)

Remember the Unown from Pokémon? WELL THEY'RE BACK AND THEY'RE PISSED

A greatly condensed Modron March.

A hollow/unfilled Laconica! :D

This was about five times as work-intensive as the original Laconica, even after accounting for the fact that I didn't add Greek to this one.

Iteration 4: Basic Latin kerning finished.

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DOODLE DOODLE DOODLE!

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Design Rules:

1. Letters with spurs will have the spur begin at the baseline. This provides the distinctive "high heeled" look.

2. Any letter whose traditional design has a straight vertical line on its left side will keep the line, no matter how the lines of the actual letter travel.

Font made for a friend's band. "Refollte" is Skalmish for "banana spider".

Hello I am Primus and these are my modrons

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This font dwells at several borderlines: Effect, Pseudo3D, and at times IVO. It is not really any of these, but with the right presentation, it looks like it is.

Because of the minimalist nature of the design, many glyphs resemble each other.

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Paradoxy Effect, now with more dots.

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

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.

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

Here we have a filled-counter pseudoserif pseudostencil that is also a borderline 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.

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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.

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.

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.

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 dependent on the diagonal lines, which were placed so that they would slant up and to the right. "s27" are obvious exceptions.

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

Version 1.1: More Latin added.

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Haven't done anything like this in a long while. This is a form of pseudocursive script, and it's termed this because many forms deviate from the cursive standards. I had to find my own solutions to account for different types of loops and to add details.

A pixel art galaxy. 27*27 canvasses.

Original size: 20.25pt

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-= LEGEND =-

A - Space Shuttle, B - Planetoids, C - Alien, D - Space Station, E - Pulsars, F - Satellite/Telescope, G - Planet & Moons, H - Kempler Rosette, I - Bar Sign, J - Space Bar, K - Interstellar Planet/Dark Star, L - Double Sun Planet, M - Globular Cluster, N - Earth, O - Galactic Plane, P - Asteroids, Q - Alien in Saucer, R - Black Hole/Wormhole, S - Globular Cluster, T - Dyson Ring, U - Giant Star, V - FS Nebula, W - Nyan Cat, X - Starship Enterprise, Y - Star-Forming Region, Z - Planet & Rings

a - Space Armada, b - Dr. Wily, c - New Stars, d - Binary Star System, e - Colliding Galaxies, f - Space Pirates & Mothership, g - SpaceX Roadster, h - Colliding Planets, i - Space Drone/Probe, j - Colony Ships, k - Ringworld, l - Halfmoon/Destroyed Planet, m - Uninhabitable Planet, n - Solar Wind, o - Wrecked Spaceplane, p - Escape Pods, q - 'Oumuamua, r - Moon, s - Molecular Clouds, t - Navigational Buoy, u - Marx, v - Substellar Companions, w - M57 (Ring Nebula), x - Space Lodge, y - White Dwarves, z - Death Star

0 - Big Star, 1 - New Spiral Galaxy, 2 - Old Spiral Galaxy, 3 - Supernova, 4 - Exploded Star & Nebula, 5 - Planet X, 6 - Quasar, 7 - Cruiser, 8 - Hypernova, 9 - Gas Giant

+= - Space Hotdogs & Food Sign, / - Planet & Comets, ; - Gamma-Ray Burst, : - High-Tech Planet, ' - Dense-Atmosphere Planet, " - Space City, £ - TARDIS, € - Sinistar

.,?!@#$%^&*()-_{space}{nbsp} - Starfields & Map Markers

A fusion of Junglira and Quartzthrone Harlequin. The result reminds me of railroad tracks, 35mm film, barberpoles, cactus heartwood, orb-weaver spider legs, and more!

Some symbols and diacritics are left untouched, either for legibility's sake or because they happened to fall on one of the non-shaded rows.

Structurally, this is Junglira, although I did round a lot of corners that were squared in the original.

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See also:Navajo Deco

A vaguely Courierlike OSD (Onscreen Display) font which tries its best to be casual. The name is inspired by the old computer joke: "Who is General Failure and why is he reading my hard disk?"

No filters or faux-beziers, just stock bricks and a bit of stacking/nudging!

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More about the design:

It started as a doodle and an attempt to make a smooth, low-resolution, low-poly font, and then it became a Courierlike. I have other fonts that tried to do polygonal round shapes before this (such as Cartoon Riot) but this design is my first real success in this area.

Initially, I made the angled glyphs before the round ones. I didn't want to change the angled ones, so glyphs like C, O, and Q became a bit wider than they are tall. I'm quite fond of this, because in most designs these glyphs tend to have a tall and narrow character. I think the mildly squat look of this font makes it cuter and gives it more personality.

A lot of glyphs were altered in specific ways to look more like metal type, especially anything with diacritics which touch the letters themselves. Other glyphs were altered specifically to be interpretable at small size. I also use angled contours and actual round bricks alongside each other within the same glyphs, another technique which is geared toward style and interpretability at small size.

This font came with many new challenges and an array of new techniques had to be designed. Loops were an insurmountable challenge because of the low resolution and heavy line weight, so I drew rounded areas to suggest them. You can see it on letters like Greek γ, ζ, and ξ.

Formerly known as "Specula".

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By request, a font with the two-toned look of a Pokéball. No filters! The Pokédollar sign can be found on "¢" and a Pokéball is on "•".

"Eviolite" is an item that powers up the defenses of Pokémon that are not fully evolved. Looks like a lavender-colored gem.

A pixel font which combines four experimental techniques at once:

1. Structurally disconnecting the stems from the open parts of letters.

2. Allowing glyphs to extend beyond the reaches of width and starting position.

3. Designing glyphs specifically to connect and form new shapes, rather than simply allowing shapes to emerge from existing characteristics.

4. Designing glyphs so that the overall font is free of a need for kerning.

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Alternates are now on UPPER CASE. I'll continue to update this as I get more ideas!

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Original size: 6.75pt (use multiples of this value for pixel perfection)

Version 1.5: Added Greek and made many refinements. Also came up with a new tilde design for all the glyphs that have one.

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By request, a casual art deco design.

Version 1.1

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For this font the idea was to make something which looked extremely clear at small sizes and which was optimized for speedreading. The low-polygonal style combined with the thick lines makes this a good font for footnotes and marginalia, thus the name.

Fyromrese style pseudorunic Latin.

Version 1.2

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This font has everything Zeph-y. Decolike shapes, half-arcs, procedural asymmetry, slight gaudiness, and an ampersand that looks like a priest with a cross walking on the ocean waves.