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!

Just an octagonal sans-serif design that I kept working on here and there.

"Are ya EVIL?" - Racer X, "Evil Joe"

X marks the spots! It's friendly-looking, despite being built from things usually used as cautionary symbols. This is a property which I also perceive in many of the sprites and setpieces of the "Metal Slug" video game. Hmm... maybe I should Fontstruct some actual Metal Slug fonts!

This works as a pixel font, but only at 2x the original size or more because of the close spacing. Smaller sizes will create distortion unless you modify the spacing in-software.

A big hulking Brutalist design.

Original size: 19pt

See also: Solidity

Halftone patterns on a square grid. Gives me a "crime lab" feeling for some reason. Maybe it's the resemblance to frosted glass...

Neon-style lettering in 5x5. I tried to keep the considerations of neon tubes in mind. Most forms are simple and several of them get repurposed for other glyphs. Further, the bends which would occur in actual neon tubing were taken into account while routing each glyph.

A closer look will find some advanced glyphs which would have to be produced by a master glassblower in order to work as neon fixtures (such as DHJKXOQ08*#+).

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This is spaced like a pixel font so that it can be used as one. Fonts which work especially well in both pixel and high-res mediums can be considered Hybrids.

"Lightened Son" is an anagram for "Neon Delights".

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Idea for Improvement: A wiring solution - some system designed to be on a layer behind the letters so that they look convincingly wired up.

See also:Technokratz family

A doodle made with Brick Basket.

This has many uses! It works as a pixel font or a high-res one, and can generate a surprising range of visual effects.

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See also:Psycho Wave

A pixel font disguised as a high-resolution one. It's a pretty effective disguise thanks to the gaps between bricks.

A small, Italic RC Family design. Makes me think of racing banners and advertisements.

I'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

Experimental multiline design.

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.)

Some puzzling boxes, indeed! These are named for Lemarchand, maker of the puzzle box which appeared in the movie series "Hellraiser". 

This design has a variety of textures and optical illusions up its sleeve. See the sample for a few of them.

Original size: 47pt (use multiples of this value for pixel perfection)

An experiment which attempts to harmonize soft curves and straight lines while eschewing angles. The result is this "inkflow" design. What is the opposite of an inktrap? I don't know, so I'm calling it inkflow.

This could also be viewed as a hybridization of neon-style lettering and normal sans serif... it is not quite made to be either one, but could act as a decent companion font to them. Most neon fonts need a larger size and are thus more suited to headers, while this design is well suited to body text.

This could also ALSO be considered a Hybrid because it works as both a pixel font and a high-res one.

A design that looks like a gallery of paintings or postage stamps. Made with glyphs from my 5x5 designs - the pixel ones as well as the high-res ones!

There are very few sizes/ratios which make every glyph look pristine. This lets the user incorporate its own presentation into things! I think this looks best at 2x-4x Pixel size.

I'll make more glyphs once I have more unique designs to sample glyphs from! Perhaps some glyphs can be based on letterforms which I liked but didn't develop into full fonts...

Can you identify every font represented here? If so, good for you! I can't. :D

Another mirror font! I made it in a square style so it would mirror more neatly. This also had the consequence of giving the font a "runic" look.

Looks best at Pixel sizes, but works with any size!

The name "Mirror Mang" comes from two things: the Captain Beefheart And The Magic Band song "Mirror Man" as well as the way my friends from New Zealand say "man".

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Original size: 7pt (use multiples of this size for pixel perfection)

See also: Glassmakers Guild, Heraldic Emblems

A chimera (fusion) of Lounge Lizard, Minishark, and Zigourat.

A stencil design in which diagonal cuts are used to imply angles and curves. It does not quite obey the rules of a segmented display, but it tries its best!

This is inspired by some text I put on the side of the Sheepslayer Mk.2, a flying dragon car piloted by Lyll "Hatch" Soretti in my game Seven Candles.

Made by request for an associate. "RADD" stands for "Research And Development Division".

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!

An evil electromagnetic zigzag tape reel. Looks almost embossed, as if the letters were "pressed" into the waves somehow. In that way it reminds me of old hand-operated label makers. It also makes me think of electricity, TV static, ocean waves, tire tracks, fractured glass, and more depending on font size and color.

The name is inspired by an attack from a notorious NES game, "Dr. Jekyll and Mr. Hyde".

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...

Experimental font doodle made with the pizza slice brick. It reminds me of the keeled scales of a viper.

This creates many distinct visual effects depending on size and coloring!

An experimental design which looks like it's obscured behind chicken wire. Best used with negative line spacing so the rows form a continuous surface.

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.

A variant of Radio Grave which took many hours to produce. I think the effort was worth it! This is a functional Multi-font and can produce a broad range of effects, especially when used at down near the original size.

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Shading Rules:

1. Use the darkest tone on the outermost concentric region and get lighter as one progresses inward.

2. Let the 5x5 region surrounding the exact center of each glyph use the lightest tone, except when this would place the lightest tone into its neighboring region.

3. Glyphs with diagonals and glyphs which use a smaller than 5x5 drawing area may bend rule 2 for the sake of more consistent and/or interesting shading.

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See also: Fuzzy Logic

Original size: 12.75pt (use multiples of this size for pixel perfection)

A 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.

Font for Razma TV, a procedural TV show generator.

This has already proven quite useful for making scanline art!

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.