A double-line style with a twist. Named for the Exage Viral Armada (EVA), a mutagenic virus featured in several of my own games and stories. EVA causes rapid limb bifurcation and the spontaneous generation of butterflies, both of which can be seen in various glyphs from this design.
The exact rules for this are somewhat complicated, and based on structural as well as visual analysis. The basic idea can be seen on glyphs like k and x: Closed loops (double line) are joined by single lines which turn back on themselves to create the illusion of more lines. Of course, this idea had to be modified for most of the other glyphs, for the sake of stylistic consistency and visual interest. Particularly, almost all the spurred glyphs have the double-line structures open up to form the spurs.This is a clone
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.
A design which uses two crosses in the counter shapes of most glyphs.
This started out as a pixel demake of "Refollte", but was then metamorphosed into another high-res design.
Because of the minimalist nature of the design, many glyphs resemble each other.
By request, a small, sporty, polygonal, uppercase serif font. The name is inspired by Hammer from Castlevania: Aria of Sorrow. This is quirky, strong, and from nowhere - just like Hammer.
This design seems best for signage, woodcuts, and the like. It carries a bit of a "sports" look too. The numerals and symbols are sans serif to make them look more modern. The asterisk is a hammer. Is it Hammer's hammer or Hammer's brother (who is a hammered Hammer Brother)'s hammer? No one knows.
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.
By request, a semimodular font which looks like a casual interpretation of "General Failure". This is also more condensed and more Pixel Optimized than its predecessor. It makes me think "fire station in a cartoon".
It uses a technique which folds some slabs in, which prevents slabs from altering the heights of letters - but slabs are still allowed to alter width to some extent. The slabs which do this are incorporated into glyphs' structures to such an extent that they are integral parts of the linework.
This could be kerned more closely, but like me, the requestor uses software which doesn't support kerning. Consider the spacing as part of the desired quirkiness.
A font made to be very economical.
This design uses as few unique shapes as possible. In addition to extensive rotations and flips (see AR, EMW, FL, GJUV, IHKT, NSZ25), glyphs are made so that they can be cut down to make other glyphs in as few cuts as possible (see BEI, used to make ACDFLMNOPRSWYZ1235689). Some other glyphs (see QX.,) then make use of the cut parts.
This means that, were these letters to be physically made, the maker would only need a few forms to start with and could cut the rest in only a few steps.
The name was chosen because of both a running joke between friends and because it was the coolest-looking phrase I tried when I auditioned the font.
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.
By request, "a font that looks like a hybrid of Greek and Latin".
This is designed to be modular. UPPER CASE contains the standard glyphs. Alternates are on the lowercase as well as the More Latin band.
"Novus Graecorum" means "The New Greek".
Supports Dutch, English, and Greek!
Fyromrese style pseudorunic Latin.
A Double/mirror design wherein some glyphs are offset and some are not. Named for Agworis, God of Chance in the DSRPG video game.
You dipped a spoon into the [masterwork Azwelke alphabet soup] and retrieved... this!
A font designed for fast single-line marquee-style display.
This was made according to the speedreading considerations of specific people. So, not everyone will find it as readable as we do.
Version 1.3: Added Polish and started on Cyrillic.
Experimental polygonal superthick decolike.
A filled Halfade made to the same specs as the original.This is a clone of Halfade
Version 1.2: Added Greek and Polish.
An attempt to do large rounded shapes using only the stock FS bricks.
Squareish spurless sans-serif stencil. Made by request for a certain machining-related YouTube channel.
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!
1.3: Added more symbols.
1.2: Added Dutch and German.
1.1: Q* were corrected.
1.0: Initial release.
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.
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!
An asymmetrical boldtype. This will be used in rulebooks for the Freeform Limitless Adventure Kit (FLAK) pen-and-paper game system which I have developed since 2002.
A busy and sometimes harsh-looking stencil design. It has a structural asymmetry which I think gives it a casual look.
Check out the Pixel views! It looks a bit like a light-up marquee.
Version 1.1: KRX were modified to be more readable at small size, MQW14'"@ were edited for style, Basic Latin band completed, More Latin band underway.
A font made by request for an author of custom Warhammer 40K modules.
A font which looks like the emissions of a Marengi Broadbeam.
Version 1.1: Began changing the counter shapes of all glyphs in order to enhance the font's appearance.
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!
A font made to the height of the visible field when the FontStructor is zoomed all the way out on my screen. I've always wanted to make something that vaguely pushed one of FS' limits - in this case, the height of the field which I can observe without scrolling.
Well, I could've made this even taller, but I wanted it to be somewhat useable at least. :D
This was originally a pixel design, but then I changed my mind and converted it to high-res. That gave it a more architectural look.
Another experimental outline balloon thing, made for a friend. Looks best at massive sizes!
A chimera (fusion) of Lounge Lizard, Minishark, and Zigourat.