Version 1.1: Improved several letters and numerals.

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Structurally, this is sort of like a fusion of Ghost Town & Lasagna Cowboy.

Paradoxy Effect, now with more dots.

Experimental filled version of Pzydeco. The counter of "e" and all variations of it remains broken, so that the eye interprets it as "e" instead of "c".

Here we have a filled-counter pseudoserif pseudostencil that is also a borderline IVO design at the same time! It also has a bit of a "double font" look going on if you look at the negative space.

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Design Rules:

1. Internal negative spaces of glyphs will be filled such that a 0.5-brick-wide void exists between the filled space and the glyphs themselves.

2. When a glyph's horizontal line intersects with the filled space created by Rule 1, both the filled space and the line will be broken.

3. Vertical lines will only connect by two tapering curves or by the implied connections created by filled negative space.

4. Filled negative spaces may only join with the outer perimeters of glyphs.

I took the line width variation of Art Deco fonts and turned it 90 degrees to create something bottom-heavy. The result looks really technological and reminds me of 1980s PC microsystems like the Sharp x86000, BBC Micro, Dragon32, and so on.

This started out as something diamondy and piratey, then turned a bit gothy before finally becoming a bit tridenty or perhaps even braziery. Ya feel me? I'm comin' atcha LIVE from this font description box.

This works best as a display font for short phrases. The name comes from the story by George G. Toudouze. If you went to public school in the USA, you've likely read the story.

A variant of Clockwork Macguffin in which most curves are changed to 90° angles. Whereas with most fonts a change like this would result in a more authoritarian or "professional" look, this one became quirkier. I like it!

Version 1.1

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Version 2.6

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Inspired by a comment by jonrgrover.

I built diamonds sized according to the Fibonacci series, then made a segmented display out of them. The design was then carved away to make the glyphs you see here. I used the members 1, 2, 3, 5, and 8. These sizes proved most feasible to work with in this sort of arrangement.

I gave the terminals a flared appearance which I think makes the glyphs look slightly Celtic. The design also makes me think of beach sand and things found on the beach - shells, pretty rocks, and so on.