First design for 2019. Some lines, line widths, spacing and of course the "serif style"  changed for this, as compared to Lady Dorma's look.

It's Monday, so I really didn't want to work too hard on this one.

A typeface inspired by the theme 'systematic', developed through finding hidden shapes within geometric architecture and using them as building blocks for the letterforms.  Sister font to - STACKED BLACKOUT

Neon lights inspired font.

Design rules:

Use 'gentle' curves.
All ends are rounded caps.
Never allow paths to cross or to touch.
Define letters & symbols in as few lines as possible.

Copyright Doug Peters (https://www.Doug-Peters.com & https://Dougs.Work) 2018 & 2019.  Released as an SIL Open Font Licensed freeware font (& web font).

I wound-up with sort of a neon light font.  Use, study, modify, create derivatives (use a different reserved font name & update docs) and/or redistribute this rounded line font. I hope you enjoy it. 

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https://Worthful.com
https://Worthful.net
https://www.Font-Journal.com

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 LC 2 px high, 9 px wide. LC are 8 high 9 wide except for glyphs with a curved base which are half a pixel below what might be expected. Numbers have varying heights

Another example of glyphs acting as the counter in a space, and this space filling the usual "glyph's white space" in the way the counters were described for the competition.

This might be called a "negative counter" design. Alternative 'Y' is on 'y'. Countercomp entry 2.

Created from the idea of using line within a font. Great for the idea of a race, whether it's running to car racing!

letters organised by type, the ones with gaps are vowels (or vowel-like).

A bit of artistic flying ;) This design would have benefitted from the original 8x8 composite possibility but 5x5 or 4x6 would have worked, too. Done as far as I need it for normal communication in modern English.

Wider lines on this version of Raysan. As it is a display font it only needs upper case and some essential punctuation. It would be useful for shop signs, headers and (part of) logos. It belongs to the Raysan family but I changed some spacings.

Yes,I didn't follow my design rule for J,T,Z,1,2,3,7 nor for .,+-+ and the different types of  >< I found the left lines with the a in @ and e in & unpleasant and unnecessary.

inspired by loop de loop by ben17, x-height: two bricks.

It started with the A which looked like a car and then the S which looked like a car with a flashing light on the roof. The other letters just came in shivering from the cold weather.

Typeface used for the opening credits of Hero's Quest: So You Want To Be A Hero (EGA) & Quest For Glory: So You Want To Be A Hero (EGA), (C) 1989 Sierra On-Line.  The words and names were not generated using an in-game font; they were actually pre-rendered static images within the game's art assets.  Letters Q & Z created by Goatmeal.

Because the flourishes/sparkles present in the center of several letters could not be recreated effectively in FontStruct, they are NOT included in this font recreation.

A font in the "Compass" group which I started a few years ago and not finished yet. Living in Western Europe I wanted a swingy-light-rounded looking font for "West" on the compass to celebrate the gentle hills and open spaces around my home in France.

inspired by shutters I saw on a photo taken in the south of France.

This font uses the idea of destruction to break up the individual letters. The effect of the destruction comes from a bullet going through each of the letters and not stopping, which is why the line is at the same level for each letter. The line is clean to show the speed in which the bullet would be travelling.

This typeface is based around the word SYSTEMATIC. Systematic is something that is acted upon according to a set plan. The main inspiration for this typeface has come from Harry Beck’s London Underground Map. First published in 1933, Beck's map has now been used to show many different transport routes for different cities across the globe. The typeface itself is very angular and includes very little curves throughout. Although the letterforms aren’t reflective of any geographical locations, each letter reflects both the stations and the railway lines from Beck’s map.