This ever-evolving lively Display Type was inspired by jazzy days and sleepless nights. Fun and flirty as well as rough and gritty. 

BRAIN POWER 

This type face was inspired by the word "energetic", the optical illusion theme deceives the eye and appears to be bend and curved in areas. The energy comes from the deception your brain; the longer you stare, the more you see. I studied mazes and other opticall illusions before coming to this outcome, shading was important as it makes the letters more realistic and 3 dimentional.

Font with a "light rays"/stained-glass effect.

Instant Stratification! This font has it, and it's yours for the low price of NOOOOOOOTHIIIIIIIING.

Welcome to Orwellian Barcode Prison, antithesis of Chicken Wire. The only thing to do here is squint.

Hollow version of Radio Grave. Though it's not a cipher, it does have a cryptographic look about it...

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

A multi-outline design with intentional aliasing.

At the original size, it looks nicely textured. The illusions become more harsh as one zooms in.

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

By request, a "waffle stencil".

This is an E6x6 broken into nine 2x2 fields. The larger and the more precisely cut it is, the more readable it becomes!

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 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.

A polygonal font which uses an optical illusion to appear round!

A design that looks like a top-down view of ziggurats!

I composited the diacritics so they'd fit into place, but this means that most anything non-English needs to be pretty large to be unambiguously read...

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)

A pixel font which uses diagonal arrangements only, resulting in several optical illusions at once! It can appear to have solid lines, gradients, polka-dots, and more.

The negative spaces within the glyphs are as few as possible, to facilitate coloring them in. A few of them ("V", "W", "7", "^" etc.) are a bit arduous... I recommend zooming way in while coloring them...

Experimental multiline design.

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 font which looks like sunbursts, fires, explosions, and more depending on its presentation. Seems like a design that would be used when its ability to get noticed is more important than its legibility...

Want to see a magic trick? This font quickly loses readability when it is shrunk or enlarged from its original size! It's like an anti-font, judging you for wanting to use it.

I think this makes excellent placeholder text at small sizes, though to the uninitiated it might just look like blurry Braille.

DANGER: ENTERING DIAGONAL ZONE! Unless you're a glyph. Then you only get to use 90-degree angles!

(Use _ for empty space.)

"Mythical Bursts" is an anagram of "Bismuth Crystal". The design is inspired by said crystals as well as Mayan/Aztec carvings (or at least, the comparatively simple forms they have in popular media) and sgraffito art in which a surface is scratched off to reveal a contrasting material underneath.

12SEP2018: I've edited every glyph in order to disconnect the letterforms from their enclosing shapes. This makes the font much more readable and consistent.

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Original size: 42pt (use multiples of this value for pixel perfection)

A multi-line design which is slightly reminescent of mazes/fingerprints. It's not designed to create functional mazes, but it is somewhat capable!

"Absinthelyric Print" is an anagram for "Labyrinthine Script".

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Original size: 11.25pt. Use multiples of this value for pixel perfection. (If you use antialiasing, it will look perfect at most any size.)

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Design rules:

1. Square bricks and 90-degree angles only.

2. Alphabetic glyphs must have open terminals; numerals and symbols must have closed terminals. Letters which do not terminate (D,O, etc.) must be broken so that they terminate.

3. Glyphs must fill the 15x15 grid.

4. Ligatures and combinatorial glyphs must fit into one letter's space.

5. Draw from the outside in.

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.

FRESCHER - 'Impossible figures'-inspired display type

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Inspired by some of the poineers in this field:
Oscar Reutersvärd,  Maurits Cornelis Escher  and  Roger Penrose

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It's only a small font, that mainly covers the Basic-Latin set.

There is a full(Uc) / (Lc)letter set, numerals and a bare minumum of symbols & punctuations, that allow at least the ability to include some form of basic structure or to clarify the meaning of a text.

I decided to keep the character set small but functional.

Designing a full multi-lingual set of accented letters accompanied with extensive support for symbols & punctuations as well as doing so within the framework for this type of decorative and complex stylistic concept seemed pointless to me due to a number of reasons.

Stylistically speaking for this type of designs it would be highly unlikely it is ever going to be used for large chunks of Body Print. Which is the primarily the only reason for including profoundingly deeper levels of typographic support into a typeface.
FRESCHER's strong and unique decorative appearance means that its is primary a Display font that should only be used for titles, headlines or for small amounts of text at large sizes and conceptual purpose artworks for media, posters, logo's/branding or advertisements.

Another thing is, that given the decorative complexity and conceptual nature of this font, the number of directions into which a certain character-design could be taken succesfuly and still remains to make sense, as well as fitting within that syle framework of the font at any time was drastically limited to only a small few.

Its for those reasons that I rather choose to keep things for FRESCHER simple and effective, rather than I would go through great lengts in order to try and include tons of half-ass and poorly designed extra's only because I desperately was trying to succeed in constructing these into that same 'Impossible geometry' -concept style.

Not to mention that I have a far to incapacitating forms of O.P.N.D. (Obsessive-Purist-Nerd-Disorder), to even think of ever going there.

I'm pretty sure that without a large characted set that would allow it to jump head first straight into  "Typographic-'Never-Ever' Land", this severely limited package is more likely to encourages it being used solely for its decorative purpose. In response this automatically forces greater awareness for the strong 'characteristic' qualities of the font.

Whereas massive 'multi-lingual-o-graphic'-typeset materials would have only paved the way to certain areas in which this font isn't supose to be used for to begin with.

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Aaaand,

If, there for whatever obscure personal reason a specific character or symbol that still is absolutely mandatory to have included in the character set as well, just request it in the comment setion bellow.

I'll be happy to design it for you on demand!

For now,

Enjoy!

Still mulling this one over.

Just testing an idea. So far it has given me 2 eye aches ;) and has worn down the Fonstruct eraser to a small chunk. I'll add some more glyphs when Meek has put a big jar of new erasers into the Fontstructor  :D WIP