In the world of technology, fonts are a crucial part of creating a visual experience for users. From the earliest days of computing, fonts have played a significant role in shaping the way we interact with computers. Just like how handwriting can be a reflection of one's personality and style, fonts add a unique touch to the digital world. One of the most iconic fonts in the history of computing is the one used in old computers. This font, known as the Fixedsys font, was introduced in the 1980s and was the standard font for many operating systems, including DOS and Windows. Its simple yet blocky design gave off a retro, futuristic feel that was popular during that time. The Fixedsys font was also commonly used in early video games and software, making it a symbol of nostalgia for many technology enthusiasts. Despite its limitations, such as not having lowercase letters, the Fixedsys font had a significant impact on the evolution of typography in computing. It paved the way for other fonts to be created and used in modern computers, allowing for more creativity and expression in design. As technology continues to advance, it's essential to remember the humble beginnings of fonts and appreciate the role they play in our digital world, just like how the Fixedsys font will always have a special place in the hearts of old computer users.

**VERSIONS**

1.0 - Initial

**COMING SOON**

2.0 - Foamemes and shidinn

3.0 - Shidinn extensions

4.0 - Lycian and old italic

5.0 - More cadexian and Meyziko

6.0 - Unused Armenian and hebrew

7.0 - Chit'de and spantty

8.0 - Emoji

9.0 - Karmeli and Latin abkhaz

10.0 - Lowercase unifon and OBZ

Clone of Tracking (a.k.a. VCR OSD Mono) without any pixels.

This may resemble the Mario Maker Font

Tracking cloned from VCR OSD MONO

STF_NICE LEGS — Condensed modernist sans
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This is a monolinear hairlined sans-serif typeface inspired by Art-Deco-ish classic modern and old ultra narrow typeface designs that evoked a feeling of sophistication and luxury..
This is a monolinear hairlined sans-serif typeface inspired by Art-Deco-ish classic modern and old ultra narrow typeface designs that evoked a feeling of sophistication and luxury..
A condensed slim & elegant style that has this classy look. The tall upper-case evokes elegance and it's asymmertical high- / low- waist distribution.

NICE LEGS was built using simple geometric shapes to make clean and legible letterforms. The super tall uppercase letters and the low x-height,
making this an eccentric, yet elegant san-serif type

— “Condensed, slim & stylish tall glyphs with that classy look that evoke elegance”.

It's asymmetric high- / low- waist positioning gives the lettering a distinct retro look & bohemian feeling that is great for logos & branding, packaging, titles, magazines, posters, signs, and scrapbooking.

As far as it is a clean looking font, it is not designed for large amounts of Body Copy text. It does work at small size, but it is perfect for branding , logos, and posters.

This font comes in both Capital & Lower letter cases. It's also equipped with many other charaters, such as; Ligatures, Numbers, Punctuation Marks, Accented Latin and a supply of special characters

It’s a minimalist sans-serif, delicate and romantic! The smooth and light execution of it’s clean and sharp lines making this font look sleek and elegant, feminine which is perfect for modern fashionable branding designs.

A condensed font with visual elegance, and smooth curves that make your work look true and attractive. Making this a perfect sans suitable to a wide variety of designs due to its neat and simple style.

More details soon

PS: I'm still working on kerning the font...

Cheers

WIP

BATAVIER (Pro) — Geometric display sans
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[ MEMOIR ]
Revision / revival of the geometric lettering seen on a 1916 Dutch litho poster for the Wm H. Müller & Co.'s Rotterdam-London passenger service called Batavier-Line (Batavier-Lijn in Dutch) which was originally designed by Bart van der Leck (1876 - 1958).

The Batavier Line existed from 1830-1960, and was the oldest steam shipping line in The Netherlands.

[ UPDATE INTEL ]
A couple of small changes were implemented compared to v/d Leck's original lettering. Most significant is the upscaled Ampersand, but numerous other small cosmetic or optimizing modifications were made as well.

I completed the full alphabet plus numerals and included additional symbols and punctuation marks to make it a fully functional typeface. The lettering is all caps (majescule) only. Some lowercase letter locations harbour a glyph alternate uppercase form as could be seen in the original litho poster source. Another bunch of alternate uppercase forms and underlined “superior” small capital letters were located in the “Halfwidth And Fullwidth Forms” Unicode block. In addition to that it has accented Latin letters for multilingual support. Also two resized alternate forms for the Ampersand and two stylish ligatures have been included.

[ SUMMARY ]
This is actually the second revision I did for the litho lettering by v/d Leck. The first attempt was made using a (faux-) Bézier approach, resulting in a huge grid canvas (168 grid units / bricks tall monstrosity). This made it a lot of hard work to build and for some letters impossible to properly implement kerning since FS values only allows  min. -10 / max. 10  of grid units for kerning.

As part of the endeavor to refurbish some of my older FontStructions STF BATAVIER was one of those that was in serious need of some overhauling as well. The problem it presented was the font's cap-height. It was actually so tall and impractical to work and / or modify, that the first revival attempt never really fully materialized beyond a basic character set.

A full glyph only fitted on screen with the FS-editor zoomed-out max. and my browser zoomed-out at 30%. At this scale not only the canvas grid lines in FS's editor all but dissapeared, but it also resulted in a down-sized brick (or 1 square grid unit) with on-screen rendering at only 3×3 pixels, as oposed to 64×64 pixels with the FS-editor's default zoom settings.

So imagine selecting a tiny 3×3 px speck when working the glyph canvas at brick level to modify glyphs... pretty much impossible. Now, the other situation wasn't a whole lot better. This had the browser's zoom restored back to 100%, making the glyph canvas at brick level “workable” again. But in respect to the cap-height this only renders a very small section of the glyph on-screen. Requiring a huge deal of additional canvas navigation in FS's canvas editor, better known as “Pan the view (H)”, which is done with the hand tool.
And well, as many of you will know, this is an absolute bummer When navigating (or panning) a glyph bottom to top requires 3 full canvas swipes.

So yeah, the only way for an extended version ever to materialize was to be rebuild it from the ground up at a much small scale, using very different measurement ratios compatible with FontStruct's kerning.

[ TECH INTEL ]
This second revision attempt successfully reduced the font's cap-height down to a comfortable 5 bricks (or grid units)  tall and Em-square of 7 bricks total. Some optical compensations were implemented to certain elements such as stroke weight corrections and careful minute differences in vertical positioning of letter mid-section elements.

For now thats all Folks..

Cheers

Slim Deco is a stylised sans serif font inspired by the ever-enduring Art Deco era. This font has clean, modern lines and decorative accents which are subtle yet set the style perfectly.

Luxurious and visually striking, Slim Deco is set in all caps and therefore best suited for larger sizes, such as headline copy, magazine covers, movie titles, brand identities, coffee shop menus, posters etc. 

This font takes you back to the roaring 1920s, the clinking of champagne glasses, the sound of jazz music and the bustling of people at fabulous parties. No matter how you use Slim Deco it will be seen as a glamorous and distinct font with strong shapes and architectural leanings that will creative an eye catching design.

I made this font in the image of 70s Bristol Grafitti/ Street Art. I was intruiged by the underground scene back in the day, and wanted to explore the way it was introduced and explored when it was first originating in Bristol. Another main part of why i created this font was to connect to the youth; grafitti is a big part of the youth culture of Bristol and i wanted to explore the history a bit, as well as the present community of Bristol. It was fun to create this design as i was able to explore both hand-rendered and graphics based desgining.

SEADWELLERS — 1920s Art-Deco Sans style
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I was somewhat inspired to do a Art-Deco style lettering of my own after seeing the stylish Art-Deco flavored FontStruction Aquamarine by IronClaws

Other than that the two fonts remain unrelated and Seadwellers poses no resemblance to Aquamarine. Instead I sort of did a 1920s Art-Deco style lettering with thin geometric letterforms. It's comes as a Majuscule only and the letters have nice quirky width variations, with some letters appearing almost extended, while others are more narrow.
— The similar aqua-themed concept is merely coincidental.

Only basic character set!

It remains a WIP for now..

Cheers

DAN NIET — Futuristic rounded sans
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This is a recreation of Svetoslav Simov's Dan typeface that was published by Fontfabric back in 2010.

A while ago I came across some image that used this cool futuristic geometric sans. And without first doing proper research I started to FontStruct the lettering seen in the image. Once those were completed I didn't really had a good vision on where to lead the rest of the letter inventions, so I went looking online to find something similar that perhaps could get me inspired to complete it after all.

Scouring the web for a while I stumbled upon some sample images for a typeface called DAN by Svetoslav Simov. And it was unmistakably the font seen in the initial image that I used for the first couple of letters.

Now, I could've abandoned the project at this stage and take my loss, but I felt that the work that already had been done up to this point would be a sad waste of something that was actually kind of fun to make. So for this reason I decided to go ahead and continue the project, and instead this time the focus shifted towards recreating the original DAN typeface.

I included a number of small changed to certain letterforms to suite my personal preference better, but it very much remains Svetoslav's work.

Because the original DAN typeface is a commercial product this recreation won't be made available for downloading. It was strictly made for the fun of it, with no intent to redistribute. It was published solely as a showcase of the FontStruct editor's capabilities.

I dubbed the project DAN NIET which is Dutch for THEN DON'T.
This sort of as a wordplay to the original's name and it's off-limit legally restricted status, hence the inclusion of DON'T.

— It still remains a WIP..

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DISCLAIMER: I hereby state that I do not own the rights to this, and all rights belong to it's original owner. Credits for the original lettering concept go to the creator. No Copyright Infringement Intended.

Cheers

My verision of cmunk's ff4 circulation