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.)

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.

Impossible geometric letters, inspired by who other than M.C. Escher.

Uppercase letters and partial punctuations only.

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