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 AcrophobiaA star font which combines a pixelated look with halftone shading.
It needs some form of antialiasing to be legible at small sizes. (See sample below or try the Pixel views). At larger sizes, you can use it with or without antialiasing!
Original size: 12pt (use multiples of this value for pixel perfection)
Brush script, art deco, classic engraving, three genera of gothic (sans serif, blackletter, and ancient alphabet!), runic, hieroglyphic, and yet still some futuristic tendencies all informed me. But do they blend?
The handwritten quality of a broad-nibbed pen or skillfully wielded marker provides the binding agent. An emulsion of all these influences, it is at once all and none. Even the strict modularity begins to melt into the background. Yet so distinctly fontstruct...
This is a cloneA space-esque design made for a friend! The angular counters give this a simplified geometry which makes it easy to read despite its looks. Works well for small- or large-scale applications - chat, terminals, logos, and more. Supports Dutch, English, and Greek!
The original was cloned off and preserved elsewhere. The version you see here has centered glyphs.
An experimental 12-segment display, and my 100th published Fontstruction. It's the calculator of yesterday's future!
This one belongs to a small family called Calculatrix.
This font is monospaced to ensure segments are always where they "should" be (as if the text were printed on one giant display).
24-segment display. This one belongs to a small family called Calculatrix.
Like Calculatrix 12, this one is spaced so that every segment appears in its proper place, as if the text were being rendered on one giant display. (If using this in your own software, you will want to check the line spacing as it can vary depending on the software.)
I suppose this font could be used for weaving or embroidery work, as well... it has that look about it...
TIP: Try zooming out while already at Pixel size!
A dashed line design made with the new half-arc bricks. The emphasized spurs/stems and off-kilter geometry give it a quirky, almost handwritten quality. Its striped appearance makes me think of candy as well as the Cheshire Cat, thus the name. :D
I doubt the upper case would look as cute as the lower. So I've cloned all LC to UC to make this easier to use...
Version 1.3: Added Polish.
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Another asymmetrical sans-serif made for use in rulebooks for the Freeform Limitless Adventure Kit (FLAK) pen-and-paper game system. This one is classed as a hybrid and works well at all point sizes!
It began as a Constant Height design, but now I don't classify it as such since most of the letters with diacritics are taller than those without. A few letters (eszett, thorn, eta, etc.) are allowed to descend slightly, as well.
This font has also found some use on signage at a friend's bistro!
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.
ETC Caldera Street V1 - A hybrid serif/sans serif
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My first 2x2 font; I was inspired to create something akin to ITC Serif Gothic and Gradient Gothic
This is still a work-in-progress though, I need to add more punctuation and diacritics, and the kerning isn't completely finished as of yet
Just an octagonal sans-serif design that I kept working on here and there.
"Are ya EVIL?" - Racer X, "Evil Joe"
By request, a polygonal font with a slightly militaristic feeling.
The truncated polygonal perimeter of most glyphs is somewhat inspired by the lettering on World War I planes, tanks, and ships. These forms of lettering tended to have more square aspect ratios. I changed that to give this font more personality and to condense it so more text could fit on a line.
In terms of what modern military setting this might fit into, it looks very Air Force- or Navy-esque to my eye. Check out contemporary video games and recruitment materials relating to those two branches and you'll see what I mean.
Alter version of Game of Strife. These two designs are for a project that is in progress. They're made to animate and swap between each other so that the text they print seems "untrustworthy".
(If you guessed that this text was being printed by an evil AI, you've won! Here's your free Nothing.)
This is a clone of Game of StrifeI'm having agrate time here! I can hardly cage my excitement.
This effect font can achieve many looks - riveted plating, segmented displays, spectrograms, grills, cages, formations of vehicles seen from high altitude, jails, and more!
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See also:Hardtime
When life gives you halflemons, make Halfade!
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This is what I call a Plain Spurless design. There are no actual spurs, only right-angled corners to suggest spurs. All lowercase letters are like this except r, which is a Rounded Spurless because it needs to curve to avoid looking like Γ, and because it's only 2 bricks wide so there's no other place for it to curve.
I made this to have mostly right angles, to have a condensed look (see filrt), and to be good for speedreading. My own experiments in speedreading favored glyphs with simple curves which don't terminate in small arcs (see CGJSZfgjrsyz@()[]{}). There are exceptions (c2369?$) because these are more recognizeable when they have such arcs. Additionally, glyphs such as BPRXY have slightly rounded counters near the vertical center, which enhanced their readability without causing them to look out of place.
The remainder of design considerations were things which are fairly idiosyncratic and unlikely to be discovered by others. For instance, the descender of Q is 2 bricks, while lowercase letters' descenders are 3 bricks and symbols' descenders are 1 brick. This is the result of a technique that attempts to visually codify different cases & types of glyphs. The slightly different contours thus formed by each word on its underside seem to enhance both readability and aesthetics.