Use TrueType, because OpenType is way TOO large

Version 0.5

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Doodle doodle DOODLE!

The flaws which were previously evident in the counter shapes have been corrected. This design is now suitable for use at any legible size.

V0.2.6: Finished Cyrillic.

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A small scale faux-bezier design with a cutout-esque look. It offers different advantages at different sizes. Most glyphs are legible down to 4pt.

As this design evolves, it gives me an increasing "board games" feeling. This design seems very well-suited for board game parts, especially cards and smaller plastic pieces.

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This has a few notable design features:

- Asymmetry helps keep letters like bdpq from being confused for one another

- Serifs and flags accomplish the same thing for groups of similar letters such as ce and ftſ

- Semiserif style helps reduce the need for kerning to almost zero

- Simplified polygons and counter shapes help pixel optimization

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See also:Cartoon Riot

A font made so that both rows and columns of letters can run into each other and form a continuous chain.

An alternate take on Eyeball Kids which has more expressive eyes.

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Making this has given me an idea for an ASCII Roguelike tileset wherein lowercase letters represent juvenile creatures and uppercase letters represent adult ones. 

An alternate, more asymmetrical & stylized Madmouse.

This could be considered an avantgarde spurless or mixed-spur design. Some letters have spurs and some don't. This is entirely dependent on the diagonal lines, which were placed so that they would slant up and to the right. "s27" are obvious exceptions.

The font used for dogs' dialogue in my game Seven Candles.

This started as a tiny version of Ballotine and then gradually acquired the cartoon-esque look it has now. It gives me a mild "noir" feeling.

An experimental slab-serif where the slabs are SQUARES and the crossbars are BONES. I'll add more to this one later.

"Squares & bones! That's all you need t' build a town!" - Reverend A. Beem

Version 1.2: Added Greek and Polish.

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An attempt to do large rounded shapes using only the stock FS bricks.

A friend wanted "cartoonish Roman-style text" and so I created this. It's pretty rough, but that's what was desired, so it's not changing.

Just a variation of an existing design. Spacing values were changed to break the chains, and "space" & "no-break space" were made blank.

A cubed slab font is like Rockwell Font. It's more a serif font, the original name is Chino because in the tags there are a tag that says "Chino". the half blocks is for the Uppercase N.

A dashed line design made with the new half-arc bricks. The emphasized spurs/stems and off-kilter geometry give it a quirky, almost handwritten quality. Its striped appearance makes me think of candy as well as the Cheshire Cat, thus the name. :D

I doubt the upper case would look as cute as the lower. So I've cloned all LC to UC to make this easier to use...

A trimmed-down version of Byblos Unicase! It has a distinctive "constantly underscored" look.

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Original size: 5.25pt (use multiples of this size for pixel perfection)

A font with a vague "selected text", "telegraphed message" or "hacker terminal" feeling about it. Seems like something that would be in a video game or creepypasta...

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Original size: 5.25pt (use multiples of this size for pixel perfection)

Some kind of great big ol' chain.

In retrospect, I think it looks like a jewelry chain from a dwarven civilization. Perhaps the hypothetical jeweler cut and ground the stones in an imitation of some dwarven font!

When glyphs are used in isolation, they somewhat resemble carved signets or seals. Increasing the letter spacing allows you to create a variation of the design. (This is something that must be done in-software since the font will render as monospaced by default.)

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12SEP2018: Added lowercase... the low resolution combined with the design method make it very difficult to render distinctive lowercase versions of every letter, but I'll keep working on it. There's a lot of similarity between pairs like S/5, Z/2, etc., so this font is most effectively used in forms of writing wherein context suffices to inform the reader as to the identity of each glyph (lists, prose, and technical writings). If you want to use this in a password system or something, I recommend using one case's glyphs only.

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Design Rules:

1. Negative spaces will be areas of 0.5 bricks' effective length or width.

2. Negative spaces may exceed the 0.5 measurement only by increments of 0.5 and in only one dimension at a time.

3. Glyphs will fill their framed canvasses to the greatest extent possible while adhering to the other rules.

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

Trying a Courier style. The lowercase has a slightly bottom-heavy design, while the uppercase keeps it consistent. Serifs everywhere!

It fits into typewriter/detective type aesthetics as well as rustic and western ones.

This one is made for a friend. We'll see if they ever end up using it. :v

EDIT: It seems as if said friend is never going to make their webzine... so, feel free to do with this one as you wish.

For this font I decided to do several things I almost never do with other pixel fonts.

First is the use of an 8*8 grid. I consider this size tough to work with so I tend to stay away from it, preferring X*7 or X*9.

Second is the rounding or softening of all 90° angles. 3- and 4- way intersections are exempt from this rule. However, some other acute angles were rounded as well.

Third is kerning, which helps ease this font back into microfont territory a bit by reducing excess space. I usually design pixel fonts so they don't need this, but not this time!

Fourth is the embrace of asymmetry throughout most letterforms, which is almost a natural consequence of making a font on the 8*8 grid.

Fifth is extending MmWw. I usually try to truncate these letters to fit my grid. Sometimes I make a symmetrical design for them, but this time I just let 'em sprawl.

Despite all these differences in methodology, I think this font looks rather like a hybrid of "Marengi" and "AMFA". Very pleased with the result!

An experiment to see if my drawing tablet would be compatible with Fontstruct. Seems to work fine, although I have to draw slowly to avoid broken lines! Despite having to move my arm very slowly, I still managed to create this font from scratch in 9 minutes.

This looks like the freehanded pen letters that I drew back in high school for my comics, particularly "Poodle Caboodle". I went over a few areas more than once, to simulate what I used to do to correct pen drawings.

A font I designed for the animation series, "The Boris Barkov Show". This is made to look blocky and industrial, but still fairly modern. It's mostly built on a 5x5 grid, and is perfectly useable as a pixel font, but is meant for high-res applications.

The show's titlecards only use this font in uppercase. But, I designed a lowercase for the sake of accessibility.

The show is about a stereotypically Russian, mustachioed, ushanka-wearing pug named Boris Barkov. Apart from speaking both English and Russian, he's able to play the video game "Escape From Tarkov", wield a sword and rifle, and carry and throw objects despite his lack of opposable thumbs. His nemesis is PugB (the Americanized "Rambo" pug) and he's rumored to have shady dealings with Sam Yippington, the Latvian Dachsund arms dealer...