I started this typeface out with the letter 'a', and from there slowly build up the other glyphs and came to realise it looks like a festive type. It's most likely due to the terminals being very angular and sharp, and that thought strengthens ever more so after I tried using it in Adobe Illustrator.

Inspired by Punk-esque, spray-painted, hip hop genre types, MX Wasgard is a take on that, using two varying sets of bubbly typefaces that can be merged together to create an overall dynamic type arrangement.

Would also like to thank Meek for giving us the new thinner macaroni bricks so as to make this typeface possible! :D

This typeface was concevied two years ago and later shelved. Thought that it was still worth finishing so here it is. It's another take on the square dot matrix style that I did with the MinSha typeface back in 2010.

A portmanteau of the term 'Pleat' and 'Uno', mx Pleato was inspired by the wavy pleats of the skirt and the tails of the 'Reverse' symbol arrows found in Uno cards. I was first interpreting the "Reverse" aspect of the glyph designs through a simple sketch of a pleated skirt/ribbon by using the opposites of the arches (AKA valleys) and then furthering the project using quarter arches of a ribbon (like the arrow tails in Uno), opposite-facing rods and other additional elements.

Made a rough 'A' glyph first as a test for the Reverse Competition but I had no time to get back to it before the deadline. I finished it anyway to see how the final outcome would be.

Fridz was going to be a bold sharp serif font, think after I was obsessed with GZA by Philipp Herrmann. But it got tiring after one too many challenges on getting the forms well. (See also Bagnard by Sebastien Sanfilippo)

Fingernail was an attempt to create a reverse-contrast typeface in FontStruct. It's in recognition of the fun typefaces of this genre that type foundries have been releasing in recent years, such as Boogie School Sans, Ribes Black, and Opposit.

Never Finished, Never Will is a release of my previous FontStruct works that never came to be completed, and neither will it ever be. The intention of this is to share them with everyone to take, play with it and modify it however they want! 

Hopefully these half-completed works can inspire you guys to do something refreshing with it, or perhaps you'd like to finish it for me (many thanks in advance! ❤️). All these fonts will be under the Open Font License, and will be progressively rolled out from me. They will be tagged under never finished never will and nfnw for easier recognition.

Happy editing! 

Mipo was the precursor for what evolved into the later MX Wasgard typeface that was released back in November 2016. That's why the S and Z looks the same is Wasgard's. It evokes visuals of mosaic designs found on window panes, or that's how I feel.

Cardamom was the starting point for the gradual discovery of what later became my latest released typeface MX Capsaicin that I introduced back in September last year. It was based on Macabre by Dave Coleman. I didn't complete the Basic Latin glyphset.

Based on Motter Ombra. The capitals was a block in the road when I was working on this. It's also quite illegible. 

An evil-looking condensed display serif that I just happened to stop progressing it after a while. Guess I wasn't feeling it anymore.

Alternates that can be used to stylise Rice in a different way. Just highlight certain characters from Rice and change those selected to Rice Alt font.

Rice is a revised take of Dan Lyon's DLEFS Material. Unlike other smooth pixel types, Rice has notches (or inktraps) at all intersections, removing any uneven colouring.

Its name is based on multiple rice dishes when I was initially coming up with proposed font names, including Pilaf and Tteok. The rounded pixel strokes also has semblance to rice grains. I was compelled to work on this when I couldn't shake my thought off the modernised pixel typeface Pexel Grotesk by Supernulla.

Motter Ombra, Chwast Artone... and Chemical X? Though it can't defeat the forces of evil, this typeface decides to become one of such a force. All wedgy, spiny, and slice-y, Salamander is an unnerving remix of 70s display classics. If you love alternative things, this is for you! Nothing says "I'm edgy" more than the multiple edges this typeface can serve with its strategic nooks and crannies.

About the name Salamander, this typeface's like an Axolotl, it's cool yet strange.

A spur-of-the-moment project. An exploration of geometric silhouette conformation and fun Futura-based alternates (specifically, using the circles as strokes).

Glyph alternates can be accessed under the Cyrillic characters.

The heavy version of Capsaicin released back in 2020. Adding thickness wasn't that straightforward due to brick limitations. Alternate construction methods were implemented on the glyphs to create similar inktraps without sacrificing the innate qualities of the typeface.

I would like to continue working on it to make it more visually consistent, but I'll stop at this moment or else it might be a perpetual WIP.

Part of the Stu font family, Stu Lo utilises flair/swash-like descenders to extend characters downwards. The character glyphs can be used interchangeably between the various Stu styles to achieve a more "bouncy" typesetting effect.

Stu pays homage to oldstyle numerals, where type designers vary the heights of numbers to resemble a line of running lowercase text. It seeks to address the question: "What if every lowercase alphabet also had varying heights?" The result is a font family with full-fledged ascenders ('Hi'), strictly x-heights ('Mid'), and only descenders ('Lo').

You can view the documentation of the Stu font family design here.

Part of the Stu font family, Stu Mid keeps all lowercases tucked within the x-height space. The character glyphs can be used interchangeably between the various Stu styles to achieve a more "bouncy" typesetting effect.

Stu pays homage to oldstyle numerals, where type designers vary the heights of numbers to resemble a line of running lowercase text. It seeks to address the question: "What if every lowercase alphabet also had varying heights?" The result is a font family with full-fledged ascenders ('Hi'), strictly x-heights ('Mid'), and only descenders ('Lo').

You can view the documentation of the Stu font family design here.

Part of the Stu font family, Stu Hi utilises flair/swash-like ascenders to extend characters upwards. The character glyphs can be used interchangeably between the various Stu styles to achieve a more "bouncy" typesetting effect.

Stu pays homage to oldstyle numerals, where type designers vary the heights of numbers to resemble a line of running lowercase text. It seeks to address the question: "What if every lowercase alphabet also had varying heights?" The result is a font family with full-fledged ascenders ('Hi'), strictly x-heights ('Mid'), and only descenders ('Lo').

You can view the documentation of the Stu font family design here.