It's Monday, so I really didn't want to work too hard on this one.
A typeface inspired by the theme 'systematic', developed through finding hidden shapes within geometric architecture and using them as building blocks for the letterforms. Sister font to - STACKED BLACKOUT
Use 'gentle' curves.
All ends are rounded caps.
Never allow paths to cross or to touch.
Define letters & symbols in as few lines as possible.
Copyright Doug Peters (https://www.Doug-Peters.com & https://Dougs.Work) 2018 & 2019. Released as an SIL Open Font Licensed freeware font.
I hope you enjoy it.
Some of my business websites:
LC 2 px high, 9 px wide. LC are 8 high 9 wide except for glyphs with a curved base which are half a pixel below what might be expected. Numbers have varying heights for aesthetic reasons, not because I'm blind, careless or incompetent.
.:*:.:*:.:*:.:*:.:*:.:*:. just saying - because I have this aversion regarding people wanting me to think like them, make fonts like theirs or like they expect. Maybe they don't want or can't understand originality, avant-garde work or just a font that has individuality?
Il mondo è bello perché è vario.
In der Kreativität entsteht Fortschritt.
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Kreativität bezeichnet die Fähigkeit intelligenter Lebewesen, neue und ungewöhnliche Lösungen für Problemstellungen zu finden. Voraussetzung für Kreativität ist die Fähigkeit, Dinge und Vorgehensweisen frei und neu kombinieren und entwickeln zu können. Ein wesentlicher Bestandteil ist oft die Fähigkeit, produktiv gegen Regeln zu denken und zu handeln (also: nicht nur zu kombinieren) und damit auch neue Regeln aufzustellen.
Another example of glyphs acting as the counter in a space, and this space filling the usual "glyph's white space" in the way the counters were described for the competition.
This might be called a "negative counter" design. Alternative 'Y' is on 'y'. Countercomp entry 2.
A bit of artistic flying ;) This design would have benefitted from the original 8x8 composite possibility but 5x5 or 4x6 would have worked, too. Done as far as I need it for normal communication in modern English.
Wider lines on this version of Raysan. As it is a display font it only needs upper case and some essential punctuation. It would be useful for shop signs, headers and (part of) logos. It belongs to the Raysan family but I changed some spacings.
Yes,I didn't follow my design rule for J,T,Z,1,2,3,7 nor for .,+-+ and the different types of >< I found the left lines with the a in @ and e in & unpleasant and unnecessary.This is a clone of Raysan Great
It started with the A which looked like a car and then the S which looked like a car with a flashing light on the roof. The other letters just came in shivering from the cold weather.This is a clone of Lord Tremolo
Typeface used for the opening credits of Hero's Quest: So You Want To Be A Hero (EGA) & Quest For Glory: So You Want To Be A Hero (EGA), (C) 1989 Sierra On-Line. The words and names were not generated using an in-game font; they were actually pre-rendered static images within the game's art assets. Letters Q & Z created by Goatmeal.
Because the flourishes/sparkles present in the center of several letters could not be recreated effectively in FontStruct, they are NOT included in this font recreation.
A font in the "Compass" group which I started a few years ago and not finished yet. Living in Western Europe I wanted a swingy-light-rounded looking font for "West" on the compass to celebrate the gentle hills and open spaces around my home in France.
This font uses the idea of destruction to break up the individual letters. The effect of the destruction comes from a bullet going through each of the letters and not stopping, which is why the line is at the same level for each letter. The line is clean to show the speed in which the bullet would be travelling.
This typeface is based around the word SYSTEMATIC. Systematic is something that is acted upon according to a set plan. The main inspiration for this typeface has come from Harry Beck’s London Underground Map. First published in 1933, Beck's map has now been used to show many different transport routes for different cities across the globe. The typeface itself is very angular and includes very little curves throughout. Although the letterforms aren’t reflective of any geographical locations, each letter reflects both the stations and the railway lines from Beck’s map.