It's split horizontally. An uppercase letter one line above the same lowercase letter produces a full 5x10 letterform.
Unlike other fonts with similar ideas, this one is made in a nonstandardized way. Some letters can be extended beyond 2 lines of height without changing their structure and some can't. By experimenting with these forms one might discover new styles.
Despite what the preview shows, there is no line spacing at all.
"Tameshigiri" means "test cutting".
Original size: 4pt (use multiples of this value for pixel perfection)
Pandora's Blocks is a new kind of box. A better box. A box that contains things unheard of in the world of humans, a box that dissolves problems and anxieties and casts them unto the wind, a box that turns the words you say and the thoughts you think into ambrosia. Do the right thing and don't not not de-un-open the box. There are bad things living in there.
You must repost this message on Facebook within 30 seconds. If you don't warn at least 12 people about the dangers of pixel fonts by tomorrow, your great-great-great-great-great-great-great-grandma will rise from the dead and raid your kitchen. She was a master Sandwichologist employed by Sir Francis Bacon himself. Repeat, DO NOT OPEN THE BOX.
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 StrifeAn 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.
An experimental 15-segment display which looks rather like a fence.
There's no DE-FENSE against DE-FENCE!
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See also:Lonewolves Guild
Just a stencil doodle. Seems like it would go well with the Kitchen Sink family.
This is built at roughly 3.5x5, but shrunk with filters to look squareish and to make the line spacing very small.
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See also:Guillotine Blade
A font in which only right turns are allowed. Where lines would be forced to turn left, they are segmented instead.
Even when these glyphs are flipped or transformed, they remain able to be drawn via right turns only!
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.
Iteration 1.11
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Tribal doodle thing. Still in its experimental phase. It's named for Abraxas, a Tromp from the PC game "Commander Blood". (As it turns out, the same name has many historical and mythological uses.)
Guess who made another font with diamonds? This uses both additive and subtractive techniques in a minimalistic way to make a moderately readable design. Best viewed at extremely small or extremely large sizes. At small sizes, it takes on a Western slab serif-esque appearance.
A font which evokes a feeling of roving warbands. It looks a bit Wild West, too! It started as one of those blackletter designs with diamond-shaped terminals, but then I experimented on it and now we have this.
I decided to make a design which incorporated the thinnest/lightest weight lines possible in FontStruct. This is the result; I'll add more if people like it.
These 1/32 lines cannot be accurately nudged, so a unique line has to be built for each vertical position where I want a line. These lines also cannot be centered on a place where two curves meet (such as the middle of B or R). This introduces some unintentional asymmetry to the design, but I like it, so I'll keep it.
There is also the problem that forming a diagonal line of the same line weight is nearly impossible. While angled 1/32 lines can be formed, their angles are all close to 0. No method exists for making a line which slants at 45 degrees while also being 1/32 weight. So, I had to make some thicker lines in certain areas. I don't think they detract from the design, but if you scrutinize this enough, you'll notice them.
A spirally design which tries its best to be lineal. Check out the "M" to see the "ammonyte". :D
Well, for some time I've wanted to make a font entirely with spirals. This is not that font, but it's as close as I've gotten to actually carrying out the idea. This is also small enough to use for body text, which is likely more than will be able to be said about an actual 100% spiral font.
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Original size: 15.75pt (use multiples of this size for pixel perfection)
A vaguely Courierlike OSD (Onscreen Display) font which tries its best to be casual. The name is inspired by the old computer joke: "Who is General Failure and why is he reading my hard disk?"
No filters or faux-beziers, just stock bricks and a bit of stacking/nudging!
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More about the design:
It started as a doodle and an attempt to make a smooth, low-resolution, low-poly font, and then it became a Courierlike. I have other fonts that tried to do polygonal round shapes before this (such as Cartoon Riot) but this design is my first real success in this area.
Initially, I made the angled glyphs before the round ones. I didn't want to change the angled ones, so glyphs like C, O, and Q became a bit wider than they are tall. I'm quite fond of this, because in most designs these glyphs tend to have a tall and narrow character. I think the mildly squat look of this font makes it cuter and gives it more personality.
A lot of glyphs were altered in specific ways to look more like metal type, especially anything with diacritics which touch the letters themselves. Other glyphs were altered specifically to be interpretable at small size. I also use angled contours and actual round bricks alongside each other within the same glyphs, another technique which is geared toward style and interpretability at small size.
This font came with many new challenges and an array of new techniques had to be designed. Loops were an insurmountable challenge because of the low resolution and heavy line weight, so I drew rounded areas to suggest them. You can see it on letters like Greek γ, ζ, and ξ.
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!
I took the line width variation of Art Deco fonts and turned it 90 degrees to create something bottom-heavy. The result looks really technological and reminds me of 1980s PC microsystems like the Sharp x86000, BBC Micro, Dragon32, and so on.