Lunais, but with many extraneous details omitted.

A novel Connected Outline design with spiral-like tendencies.

A rounded, incised, spurless sci-fi design with a heavy emphasis on visual balance. Language support is in progress.

Revisiting Celosia, this time with faux-beziers instead of pixels.

Alternate @ design on ©.

I finally made a folded-/ribbon-style design. This one contains a number of experimental techniques. Most notably, the swept parts of glyphs are allowed to extend beyond the letterwidths and sometimes even the baselines. This enhances the sense of movement, creates some interesting linkages, and reduces the need for kerning.

All of these shapes can be constructed with paper or ribbon, although lots of clever folding tricks, doubling, and pinning down/securing with glue would be required.

Alternate tilde on "±".

A skeletal version of Modron March.

A design based on loops and dead-ends.

A design that combines tropes from fantasy, sci-fi, and sports in a subtle and pixel-optimized way.

Structurally, this looks like a high-res version of Marengi Mk2. There are still plenty of differences between the two, but since they seem equally readable to me, I'm tagging this as a chat font.

Version 1.1: Improved gy&Ѐ.

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A greatly condensed Modron March.

A tall condensed pixel design with simplified geometry. It's the same kind of geometry I use for speedreading-optimized designs, but whereas those designs only have key elements altered for speedreading, this one alters every glyph.

This was made for a friend who does CNC engraving. His setup is so good, it can engrave pixel fonts - or predict the lines' geometry well enough to smooth out the pixel shapes into high-resolution ones. Now we want to see what this turns into!

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See also:Dynastium

Hello I am Primus and these are my modrons

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This font dwells at several borderlines: Effect, Pseudo3D, and at times IVO. It is not really any of these, but with the right presentation, it looks like it is.

I decided to make a design which incorporated the thinnest/lightest weight lines possible in FontStruct. This is the result; I'll add more if people like it.

These 1/32 lines cannot be accurately nudged, so a unique line has to be built for each vertical position where I want a line. These lines also cannot be centered on a place where two curves meet (such as the middle of B or R). This introduces some unintentional asymmetry to the design, but I like it, so I'll keep it.

There is also the problem that forming a diagonal line of the same line weight is nearly impossible. While angled 1/32 lines can be formed, their angles are all close to 0. No method exists for making a line which slants at 45 degrees while also being 1/32 weight. So, I had to make some thicker lines in certain areas. I don't think they detract from the design, but if you scrutinize this enough, you'll notice them.

Asymmetrical alien techno stencil.

This uses some experimental techniques, of course, but I'm not sure how to concisely explain those. Let's just say that each type of line bend and line connection has a rule associated with it. These get naturally modified by the structural asymmetry the font has so that simple rules appear in many forms and variations.

A stemless and spurless Eviolite. It has a "utilitarian" look which I enjoy.

By request, a polygonal font with a slightly militaristic feeling.

The truncated polygonal perimeter of most glyphs is somewhat inspired by the lettering on World War I planes, tanks, and ships. These forms of lettering tended to have more square aspect ratios. I changed that to give this font more personality and to condense it so more text could fit on a line.

In terms of what modern military setting this might fit into, it looks very Air Force- or Navy-esque to my eye. Check out contemporary video games and recruitment materials relating to those two branches and you'll see what I mean.

Formerly known as "Specula".

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By request, a font with the two-toned look of a Pokéball. No filters! The Pokédollar sign can be found on "¢" and a Pokéball is on "•".

"Eviolite" is an item that powers up the defenses of Pokémon that are not fully evolved. Looks like a lavender-colored gem.

A Double/mirror design wherein some glyphs are offset and some are not. Named for Agworis, God of Chance in the DSRPG video game.

Version 1.3: Added Polish.

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This font used to be a normal Decolike... until someone decided to chow down on it! They seemed to prefer the taste of spurs, as all of them have been bitten off, leaving only semicircular impressions.

"Nervousa" is an anagram for "Ravenous".

Version 1.0

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A slightly quirky font made to be good for chat and marquee display. The global matrix is 8 pixels tall. This works well for IRC clients, MUD clients, and so on. Supports Dutch, English, and Greek!

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Original size: 6pt

Version 1.3: Added Polish and started on Cyrillic.

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Experimental polygonal superthick decolike.

A variant of Marrada with more angles.

Usually with designs I try to make every part look like it "belongs" with the others as opposed to trying to make each part look its best. With Marrada, I struck a balance between the two. Q1@*&{} are probably the best examples of this sort of balance...

A combination of many small disparate elements. Like "Space Wham" it tries to harmonize angles and curves, but it does it by letting complementary glyphs have them as opposed to using them both in a given glyph. I broke this rule to make "Marrada Angle", though.

A filled Halfade made to the same specs as the original.

When life gives you halflemons, make Halfade!

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This is what I call a Plain Spurless design. There are no actual spurs, only right-angled corners to suggest spurs. All lowercase letters are like this except r, which is a Rounded Spurless because it needs to curve to avoid looking like Γ, and because it's only 2 bricks wide so there's no other place for it to curve.

I made this to have mostly right angles, to have a condensed look (see filrt), and to be good for speedreading. My own experiments in speedreading favored glyphs with simple curves which don't terminate in small arcs (see CGJSZfgjrsyz@()[]{}). There are exceptions (c2369?$) because these are more recognizeable when they have such arcs. Additionally, glyphs such as BPRXY have slightly rounded counters near the vertical center, which enhanced their readability without causing them to look out of place.

The remainder of design considerations were things which are fairly idiosyncratic and unlikely to be discovered by others. For instance, the descender of Q is 2 bricks, while lowercase letters' descenders are 3 bricks and symbols' descenders are 1 brick. This is the result of a technique that attempts to visually codify different cases & types of glyphs. The slightly different contours thus formed by each word on its underside seem to enhance both readability and aesthetics.

Squareish spurless sans-serif stencil. Made by request for a certain machining-related YouTube channel.

Version History:

1.3: Added more symbols.

1.2: Added Dutch and German.

1.1: Q* were corrected.

1.0: Initial release.

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Font used for rAIn, shipboard AI of the RGS-1 Rainbow Loop. This will also likely be used in FLAK materials, as well.

Version 1.3: Added Polish.

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Another asymmetrical sans-serif made for use in rulebooks for the Freeform Limitless Adventure Kit (FLAK) pen-and-paper game system. This one is classed as a hybrid and works well at all point sizes!

It began as a Constant Height design, but now I don't classify it as such since most of the letters with diacritics are taller than those without. A few letters (eszett, thorn, eta, etc.) are allowed to descend slightly, as well.

This font has also found some use on signage at a friend's bistro!

Experimental sliced sans serif. My goal here was to make a design which would result in an extremely compact and durable physical stencil. Almost all of the sharp points and acute angles are within the negative space, so it should be easy and very safe to make, handle and work with this stencil.

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Version History

1.3 - added More Latin and Google Fonts Basic bands.

1.2 - added uppercase, changed name to "Aegris Stencil".

1.1 - edited for more readability at small size. Glyphs with enclosed loops were altered so that the "movement" of the segments always runs clockwise.

1.0 - released.

Version 1.1: Several glyphs (BKMRWXkmwx38&{}µÆæß³Œœ™) were edited for readability and þ was edited to distinguish it from Þ.

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A font made for a friend's board game!

This gives me a strong "film credits" feeling with its high impact and simple geometry. 

An attempt at Gridbug in 2x2!

Trying this style out. The name comes from a monster in the game NetHack.

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See also:Gridlarva

Version 1.1: Began changing the counter shapes of all glyphs in order to enhance the font's appearance.

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Experimental doodle. The idea here was to make letters, ascenders/descenders, and diacritics obey the same ratios. The result looks sci-fi and sporty at the same time... a bit strange, but also a bit useful!