This font was originally done by kix. All credit belongs to him for the design. I have merely colorized it.

See tm ADHD 01

See tm ADHD 01

See tm ADHD 01

See tm ADHD 01

This turned into a whole series when all I was trying to do was simple 3×3 oversized pixel font. One tiny modification to try and fit some glyph into the established structure led other glyphs to conform to the modification. As a general practice, every time I make a modification to a completed glyph, I make a copy of it first. When enough glyphs were conformed to a/the modification, I moved them off to a clone.*

While working on the clone, some new tiny modification would generate glyphs that were similar but enough different that it warranted it's own clone. And so on...so much that the naming scheme had to be changed a few times as well.

And the series is not even all that good. But once an idea hits...and the FontStruction is easy to do... it might as well be "completed".  There are 9 versions of tmADHDs at varying states of completion at the time of first sharing.

*​​This is an over-simplification of the process. What actually happened was that the first iteration ended up with what looked like three similar-yet-distinct styles so I made two clones of the first and deleted glyphs of the first style from the second and moved glyphs to uppercase of the ones that seemed to belong to the second style and added new glyphs to flesh out the style. Did the same for the third. Lots of back and forth between the three iterations to ensure none were left behind or inadvertently deleted. Still there were enough individual glyphs left that I didn't know what to do with. Then I created a fourth clone and moved the left-overs to it. Which later turned to fifth and sixth clone. At some point the thought occurred that tmADHD2 doesn't need to be as wide so it became tmADHD2a and the narrower iteration became tmADHD2b. And so on.

In the font preview window above, click Pixel and then Shift+Pixel 4 times to see the full effect of the font.

I remember from back when I was learning Japanese, that the stroke order in writing hiragana, katakana, and kanji was important. I didn't get very far in my Japanese studies, but even then some of the kanji were like 17 strokes each, and each with a specific order of marking the strokes. Thinking of what would be appropriate for a number competition, I recalled the number and order of strokes per glyph idea. Hence, this font. 

The idea brought with it an inherent textfont sensibility. Deciding on the slope of the diagonal strokes was tricky as they rendered those letter either too wide or too narrow. The correct choice was a slope with a flat top or bottom. That allowed the width of the letter whatever I wanted but the flat top took away from the natural marking of the stroke, as in: no one actually writes an A with a horizontal top stroke. Settled on the current slope and width. Still, the letters came together fairly quickly; the kerning not so much. Whether they were adjusted or not, around 10,000 kerning pairs were checked. More than 2500 kerning pairs are included here...and many more still remain. How good or consistent the kerning is is for other's to judge.

Some of the glyphs are quirky, I know. There are already hundreds of thousands of exceptional standard text fonts. No point redoing those. 

Due to the need to show the strokes individually, the font came out as stencil. That was an unintentional byproduct of the idea.

Some strokes are split in two to show distinction between the crossing strokes, but technically they would be continuous. 

The strokes are based on my own handwriting style; others may do it differently. For example, when being careful, I write the Z in three strokes, whereas I suspect others probably write it in one. 

This is not a color font even though it is auto-charcterized as one because at one point I experimented with making the stroke-order numbers gray. I thought about copy-pasting the glyphs in a new FS, but the follow-up thought of having to redo the kerning quickly put a stop to that madness.

For best view of the font, download & install and check out some long block of text in Word with kerning turned on. (This articles explains how to activate kerning in Word.)

I like blockiness.

And patterns.

And patterns that tile.

And tiles. 

Perhaps it is lack of motivation, or running out of ideas, or over abundance of streaming services, or the creeping up of age, or just plain laziness, but making new fonts gets harder and harder each day. And finish. 

Started this font on a whim on the phone while having my morning coffee. The first version of the uppercase letters was done in the time it took to finish drinking it. Worked on it off and on during the day. Was done by evening. The sample probably took longer than the making of the font.

Thanks, fontstruct.

It's called ajicis because it is built upon the letters done for the wallpaper of Wipeout 3 game team AG Sys. It has the same grid structure but the letters look nothing like the original.

Also, this FS'tion was started on the phone (because I was too lazy to get off the bed and go to the computer). When I saw potential in the created letters, it was saved and opened on the iPad. The rest of the fs was done there. The only thing that couldn't be done on the iPad was adjusting of a composite brick. (It was fixed on the laptop days later.) So, 98% iPad. 

@RobMeek: The iPad version worked well. However, Menu->Edit->Copy, Menu->Edit->Paste, etc. got tedious. Can we have the menu commands in icon form docked or floating somewhere on (in?) the tablet version? The icons can be half the size of the Tools icons to save space. Also, can the tools and zoom be docked as well on the tablet version? It would be helpful. Thanks. 

For reason lost in the mist of time, I wanted to do Cyrillic letters. Cyrillic text looks really cool written down, no? Maybe that was the reason. Who knows.

However, not knowing Russian at all, the nuances of the written script are unknown to me. Hopefully, I got at least some of the letters right. 

Further exploration of salvaging tm otw. Requires a lot of kerning...that will probably never happen. Holding of breath is ill advised.

An attempt at "holistic" version of tm otw. Failed attempt, more like. Oh well.

I love these kinds of fonts that have geometric puzzle-solving quality in the design. I was quite happy with how the lowercase found a way to be connected. Then I thought let me not mess with anything else. But a Z is so much like a 2, so I created the 2 out of the Z. Then when 2 was done, I was aprehensive of tackling the 1 because the vertical stem would be off by one brick, and how would that be resolved. Reluctantly I tried it...and it worked. 3 can be created from the B, but the B hasn't been created yet. OK, I guess I have to do the uppercase. A was easy. B was surpringly easy. Which gave me motivation to go on. And surprisingly soon, the whole thing came together. The hardest letters to shape were X and S. Not all letters are very successful, but they are distinctive enough to be recognized as themselves. Not sure about the =, but it will do, I suppose. In any case, no kerning required.

This font is a result of the thinking "The punctuation looks niiice. Should I do a font to match these?" on tm wto font.

The letters were allowed to be as wide as they wanted. A lot (when it became apparent that many versions will be necessary to get the right shape) of the earlier attempts at forming the letters are left in the font.

This should have been a minimum font, but minimum can't do color.

The idea was to simulate transparency. After trying out multiple color hatch patterns, it was apparent that it is not going to work. The earlier attempts are left in the font for you to judge yourself their efficacy.

The file is pretty heavy because of having so many anchor points (times 8 layers). Scrolling will be slow. Because the next letter overlapping the previous hides part of the black outline, just outline glyphs are there to stack two layers (colored below, outline above) to get the correct effect.

Is there some trick to make the downloaded font to work in color? The version I downloaded comes as *-svg.ttf. Aren't the color svg fonts in .otf format? Thus, no sample.

This font was initially done as a combination of CMYK colors. Although a lot of time was spent in creating that font, the vibrancy of the letters in a mixture of those colors was a garish nightmare which was difficult to look at. Hence, it is gone.

Still there's a font here somewhere. Hence this toned-down, Not (¬) CMYK version—all of the geometry, less of the disturbia.

PS: AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz0123456789!?@&*(){}[]|/\.,;:'"‘’“”«»<>-+=%|

Every possible permutation of the above glyphs generates 9,025 kerning pairs to be tested. I've only tested 2,994 kerning pairs. Then I lost steam. Whether I got them right or not is a whole another can of worms.

The design process is typical in its atypicality (yes, it is a word, or, at least, should be!).

The atypicality necessitates the telling of the story behind it.

Looking for something to do...something easy to do, I came across the font shown 5th from the top in this article on Dieline. "I can do this," thought I. I did a 2 that looked similar. Based on that, did the 3. 5 6 9. 0 8. 1 7. "Hmm." Add the horizontal stripes. 7. 4? "No." Re-4? "No. Another 4? Perhaps thinner sides?" "Even thinner." "Hmm." Redo 1 2 3 5 6 7 8 9. "Maybe this is better. OK, lets do the letters." Start with Z because it is almost a 2 with minor curve tweak. Do the S. B because 3 is done. A. V. C. E. F L. J. Etc.

The glyphs so far have a 3 horizontal band appearance. Do the lowercase. a is two bands. b is two bands...but how high should the ascender be? Also, the x-height seems wrong. Off somehow. "Can I do a 2 band uppercase with the letter slightly taller. Maybe 2 bricks taller?"

Redo A. Redo B. "No this B is not working." Redo B. Redo B. Redo B. "Hmm. Maybe." Redo C D. Redo E F L. "OK, this might work." Redo to all uppercase letters.

Do the lowercase. "Yes I like the new f." Redo other letters to include the flip. Most of the letters are the same width. "Maybe I can make this a mono-space font." Redo m. Redo M. W. V. "The A looks odd." Redo A. And so on.

The font may have started as a simple thing but it is very different now. "I'll just publish it." "No, I should at least do the basic punctuations." "No this hyphen is too thick." Redo. "Now it is too thin." Redo. "Now it is too wide. But this is mono-space font. The width cannot be altered." +. "That just looks weird." Redo +. Now the - looks off. Redo -. Now they both don't fit with the rest of the font. Redo + -. "No. I'll come back to them." Do [. "No that's too heavy top and bottom." Redo [.  Do (. "This needs a different curve." Redo (. "Can I use this new curve somewhere else?" Redo @. "Hmm." Do ©. Do ®. Do ™. Do “. "I can't make this so wide." Do ‘. "Definately cannot make it mono-space." Redo all punctuation to be their natural width. "This is no longer a mono-space font. Should I redo M m W w to be more natural?" Redo do m. "No this is too much work. I can't be bothered anymore. Let the m's and w's be."

"The punctuation looks niiice. Should I do a font to match these?"

Create New FontStruction

A 'do something easy' font.

An update of 2013's fs electronic

It's called Choices because this basic idea lead to numerous minor iterations that completely changed the character of the...er...characters. All the unused possibilites are now sitting dormant in another font. Perhaps they will become a full font (or three)...someday.

The thing about a square of the things that are about a square is that they don't tile as well as squares do. 

.

Shift+Letter and Shift+Numbers have holes in them.

Quarantine 2020 allowed for this fontstruction to be born as it provided forced free time.

I'm sure it's true for everyone who designs fonts, there were lots of artistic decisions made in the creation process. Some letters went through a lot of iterations to arrive at their current state. Almost the entire uppercase were designed one way, scrapped and then redesigned this way.

The future is screen. Super high-resolution screen. Resolution so high that it is indistinguishible from printed text. 4K screens are available on mobile devices now. The future is resolution independent then.

~Type an uppercase letter and type the corresponding (or some other) lowercase letter to fill in the shape.

You can use the uppercase letters to form one word and type the lowercase fill letters to form the same or another word, or fill with a blanking glyph to complete the letter with no center letter. So, two types of letters are possible with this one font.

The letters had to be designed such that the uppercase could read as a letter without a center fill on it's own, or filled with blank glyph, or with a center letter. In doing so, the font turned auto-stencil and auto-monospaced. Also, since the unfilled uppercase read as the correct letter with the hole in it, this fs can be said to have three fonts in it.

The gaps are 1/8 brick; the thickness of the inner letter strokes is 2/8 brick. Therefore, this limitation meant that the glyphs with a stroke in the horizontal center can either be lined up with the left side blocks or the right side one. Therefore, 3/8 brick thickness I and T are provided on { and }.

Letter couples are as follows: Aa  Bb  Cc  Dd  Ee  Ff  Gg  Hh  Ii or I{  Jj  Kk  Ll  Mm  Nn  Oo  Pp  Qq  Rr  Ss  Tt or T}  Uu  Vv  Ww  Xx  Yy  Zz

Number couples are: !1  @2  #3  $4  %5  ^6  &7  *8  (9  )0

Blanks: ~, space

Center blank: `

Pipe: = (which will offset the monospacing)

Others; ? is at ?/  ! is at |\

Punctuations are where they are supposed to be: .  ,  ;  :  '  "  ’  ”  ‘  “  -

Sample: Type the following in User Input to see the font as it is supposed to be:  A`AaB`BbC`CcD`DdE`EeF`FfG`GgH`HhI`IiI{J`JjK`KkL`LlM`MmN`NnO`OoP`PpQ`QqR`RrS`SsT`TtT}U`UuV`VvW`WwX`XxY`YyZ`Zz!`!1@`@2#`#3$`$4%`%5^`^6&`&7*`*8(`(9)`)0?`?/|`|\)-)+~_<>=

6 bricks tall.

The sample is a font pun: TWO in ONE.

PS: Not sure how future it is.

Constructed on the bones of fs minimal.