A font inspired by architecture & skyline for a design course 

Edit: Good news! I cancelled to make this font in fontstruct because im going to transfer it to Inkscape (to design glyphs) and Fontforge (to copy paste the glyphs here from Inkscape for metrics, kerning, and font data stuff) so I don't have to rely on internet connection anymore. I even want to make lots of varieties of this font from sharp corners to gear looking corners to a bit of shifted glyph chaos.

I think I can let you use this font now.

I published this because I just want to know what would happen if I published a fontstruct. It was initially undownloadable.

Here's a preview of my first font I made in fontstruct. I initially made this font in Geometry Dash level editor (yeah, you've read it right) and left unfinished and I decided to reconstruct the font here in fontstruct.

Fontstruct is really good font creating website (I wish there was offline app/software version of fontstruct). I've encountered an annoying jumbled brick bug, but fortunately I've manage to fix the bug, by replacing "my bricks" with the correct bricks from below (don't know how to explain).

Font used on the LINC terminal screens, inside LINC-Space, and for player-named saved games in the DOS version of Beneath A Steel Sky, (C) 1994 Revolution Software.

Oddities found within this font's design:

• The j is missing its tittle (corrected here)

• The stem of the k is 1 pixel shy of the full cap height (corrected here)

• There is an extra pixel width of space after the i, the lowercase L (l), the period (.), the colon (:), and the apostrophe ('), likely for increased legibility (retained here)

• The apostrophe (') is one pixel higher than the cap height (retained here)

There are also a few design differences between the glyphs for the player's saved games versus the font used for interacting with LINC (above):

• The saved game capital i (I) and number one (1) both have the same design, which is the same as the LINC lowercase L (l) above

• The saved game lowecase L (l) is actually 1 pixel taller than the cap height

• The saved game exclamation point (!) is 1 pixel shorter than the cap height

The original design oddities and the saved game variants are found in the More Latin section.

Font used on the LINC terminal screens, inside LINC-Space, and for player-named saved games in the DOS version of Beneath A Steel Sky, (C) 1994 Revolution Software.

Oddities found within this font's design:

• The j is missing its tittle (corrected here)

• The stem of the k is 1 pixel shy of the full cap height (corrected here)

• There is an extra pixel width of space after the i, the lowercase L (l), the period (.), the colon (:), and the apostrophe ('), likely for increased legibility (retained here)

• The apostrophe (') is one pixel higher than the cap height (retained here)

There are also a few design differences between the glyphs for the player's saved games versus the font used for interacting with LINC (above):

• The saved game capital i (I) and number one (1) both have the same design, which is the same as the LINC lowercase L (l) above

• The saved game lowecase L (l) is actually 1 pixel taller than the cap height

• The saved game exclamation point (!) is 1 pixel shorter than the cap height

The original design oddities and the saved game variants are found in the More Latin section.

Clone of Beneath A Steel Sky.  Inset for the main text font used in the DOS version of Beneath A Steel Sky, (C) 1994 Revolution Software.

While Damien Guard (DamienG) couldn't find the numerals 3 5 6 and 8 (see the comments section for his 2017 FontStruction "BeneathASteelSky"), I was able to find at least two instances where the number 3 was used; however, I couldn't find a 7.  So, to complete the set of numerals, I'm using his designs for 5 6 7 and 8 (which fit the aesthetics of the other numbers).  Thanks, Damien!

Font used as the main text font in the DOS version of Beneath A Steel Sky, (C) 1994 Revolution Software.

While Damien Guard (DamienG) couldn't find the numerals 3 5 6 and 8 (see the comments section for his 2017 FontStruction "BeneathASteelSky"), I was able to find at least two instances where the number 3 was used; however, I couldn't find a 7.  So, to complete the set of numerals, I'm using his designs for 5 6 7 and 8 (which fit the aesthetics of the other numbers).  Thanks, Damien!

Typeface based on Pet Shop Boys' album "Nightlife," their single "New York City Boy," and their "Montage" concert tour (1999–2000).  While a fan TTF was made by Footnote Fonts in 1999 (as well as a couple of, um, 'unofficial variants' of that design by other folks over the next two years), almost 21 years later here is MY take on it in FontStruct.  The following letters are taken from existing artwork: A B C E F G H I K L M N O P R S T U W X Y; all other glyphs are by Goatmeal.  Due to the design's height restriction, I couldn't figure out a suitable $.

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Update: March 01,  2022 - Numerals 0–9 taken from the tracklist number designs of the "Nightlife" Promo CD.

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Update: December 02,  2023 - Corrected V from existing artwork for the "Nightlife" Ringbinder Double CD Promo (2nd disc is labeled INTERVIEW).

This is a capitalised futuristic font that I made, I hope you all like it! :)

HIGH SOCIETY

This font was created based originally on the word 'Gregarious'. From that I researched Social Housing in the UK. These are spaces designed to house many people for as cheap as possible. I used compound blocks to create complex detailed flats that stack up as high as a tower block usually would.

A display font inspired by brutalist architecture and 3D concrete forms in built up city centres. Designed to give a sense of scale and weight.

This font draft was created with the theme of massive, I wanted to create something that looked physically imposing and noticeable. To create the structure, I looked at buildings and cityscapes around the busiest parts of Bristol City and wanted to play with perspective as if the viewer was standing beneath a building and looking up at it, I ended up making a font that reflected the uniformity and scale of buildings.

Clone of Werner and vastly improved although some more glyphs might be of interest to my friends.Rounded corners give it the charm so often lacking in 'print' fonts. It provides a pleasant text experience. Takapuna is legible at smaller sizes. I named it after the home town of my penfriend.