A filled Halfade made to the same specs as the original.This is a clone of Halfade
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!
1.2: 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 1.2: Added Greek and Coptic. I don't have the right language support installed to see ALL the glyphs, so a few are still missing...
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.
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 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.
Another mirror font! I made it in a square style so it would mirror more neatly. This also had the consequence of giving the font a "runic" look.
Looks best at Pixel sizes, but works with any size!
The name "Mirror Mang" comes from two things: the Captain Beefheart And The Magic Band song "Mirror Man" as well as the way my friends from New Zealand say "man".
Original size: 7pt (use multiples of this size for pixel perfection)
An experiment which attempts to harmonize soft curves and straight lines while eschewing angles. The result is this "inkflow" design. What is the opposite of an inktrap? I don't know, so I'm calling it inkflow.
This could also be viewed as a hybridization of neon-style lettering and normal sans serif... it is not quite made to be either one, but could act as a decent companion font to them. Most neon fonts need a larger size and are thus more suited to headers, while this design is well suited to body text.
This could also ALSO be considered a Hybrid because it works as both a pixel font and a high-res one.
The Zephiest of designs - a gaggle of Roman columns with gongs stacked on them.
A slightly chimeric sci-fi design with no relation to Space Blam, Space Clam, Space Cram, Space Dam, Space Fam, Space Flam, Space Gram, Space Ham, Space Jam, Space Kazaam, Space Ma'am, Space Pram, Space Ram, Space Sam, Space Slam, Space Spam, Space Tram, or Space Yam.
In making this I attempted to achieve a harmony between angles and curves. You can see it especially well on "B", "3", "8", and "&".