Just a variation of an existing design. Spacing values were changed to break the chains, and "space" & "no-break space" were made blank.

From the vault of unpublished doodles, a permutation of earlier ideas.

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See also:Spacekapitan, Spacekommand

An evil electromagnetic zigzag tape reel. Looks almost embossed, as if the letters were "pressed" into the waves somehow. In that way it reminds me of old hand-operated label makers. It also makes me think of electricity, TV static, ocean waves, tire tracks, fractured glass, and more depending on font size and color.

The name is inspired by an attack from a notorious NES game, "Dr. Jekyll and Mr. Hyde".

A chimera (fusion) of Lounge Lizard, Minishark, and Zigourat.

A formally-dressed Zigourat. :D

A design that looks like a top-down view of ziggurats!

I composited the diacritics so they'd fit into place, but this means that most anything non-English needs to be pretty large to be unambiguously read...

A design that looks like a gallery of paintings or postage stamps. Made with glyphs from my 5x5 designs - the pixel ones as well as the high-res ones!

There are very few sizes/ratios which make every glyph look pristine. This lets the user incorporate its own presentation into things! I think this looks best at 2x-4x Pixel size.

I'll make more glyphs once I have more unique designs to sample glyphs from! Perhaps some glyphs can be based on letterforms which I liked but didn't develop into full fonts...

Can you identify every font represented here? If so, good for you! I can't. :D

Some kind of great big ol' chain.

In retrospect, I think it looks like a jewelry chain from a dwarven civilization. Perhaps the hypothetical jeweler cut and ground the stones in an imitation of some dwarven font!

When glyphs are used in isolation, they somewhat resemble carved signets or seals. Increasing the letter spacing allows you to create a variation of the design. (This is something that must be done in-software since the font will render as monospaced by default.)

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12SEP2018: Added lowercase... the low resolution combined with the design method make it very difficult to render distinctive lowercase versions of every letter, but I'll keep working on it. There's a lot of similarity between pairs like S/5, Z/2, etc., so this font is most effectively used in forms of writing wherein context suffices to inform the reader as to the identity of each glyph (lists, prose, and technical writings). If you want to use this in a password system or something, I recommend using one case's glyphs only.

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Design Rules:

1. Negative spaces will be areas of 0.5 bricks' effective length or width.

2. Negative spaces may exceed the 0.5 measurement only by increments of 0.5 and in only one dimension at a time.

3. Glyphs will fill their framed canvasses to the greatest extent possible while adhering to the other rules.

An experiment to see if 3x3 fonts are more legible when drawn in negative space. I consider this to be not only a success, but also the most readable 3x3 design I have seen - particularly the uppercase.

The successors Megashark and S.D.M.G. are more useable and more stylish respectively, while Minishark strikes a good balance. 

This is considered an E3x3 because, while it's created in a 5x5 grid, it has an effective drawing area of only 3x3. The outermost square only has pixels drawn in it when the interior design dictates such.

Some puzzling boxes, indeed! These are named for Lemarchand, maker of the puzzle box which appeared in the movie series "Hellraiser". 

This design has a variety of textures and optical illusions up its sleeve. See the sample for a few of them.

Original size: 47pt (use multiples of this value for pixel perfection)

A font I designed around 2016 for a DSRPG prototype on the Game Boy Advance.

A 117-segment display made to have a more "mosaic" look. Try using this one at odd sizes, especially with antialiasing off! The resulting distortions occur in a consistent way which leads to many new uses for the font.

Original size: 38pt

Portable Vengeance in negative. A few glyphs (such as "Q") were truncated for the grid.

Rather than spacing this so the blocks form a continuous reel, as I usually do, I decided to let things be a bit spaced out. This makes the font much better at attracting attention. And, since this is made to show system messages in games and consoles, it works out!

Framed, perfect symmetry, seamless tiling, no composites, no filters, no MSG.

This was made in the style of a reticle or selection field, but it is capable of much more. It can create the appearance of a cargo net, electric grid, or caution-taped area. It's high impact and captures attention quickly, much like an electric caution cargo net.

Use with 0 line spacing for the best effect!

A 9x9 font where the 5x5 letters are framed or held captive by selection indicators/targeting reticles. The kind of font a kid might draw on a cardboard spaceship.

A design inspired by mineshafts and the wood scaffolds which are built to shore up tunnels in order to prevent them from collapsing.

Original size: 5.25pt (use multiples of this value for pixel perfection)

Feeling dazzled?

Fontstruct's first vacuum tube font!

This is a design inspired by Nixie tubes. Since these "tubes" are iconographic, they could theoretically represent 12AX7s, 6L6s, KT88s, or whatever tube/valve you wanted. Feel free to clone and build on this concept.

11x11 version of Illuminated Flamingo. Made to achieve a hybrid look between Derpberd Condensed and Gremlin 3x6, allowing this to be used with a greater range of microfont styles.

A 12x12 pixel font designed for use alongside microfonts, especially the "Derpberd" family it's modeled after. These large letters help decorate the start of a new chapter in a manner similar to the art fonts of illuminated manuscripts. I think this makes a decent "high-tech" or "board game" font, too! :D

Alternate style on lowercase (alternate ,.!? are on <>/~). The symbols and numerals have a slightly altered frame to help differentiate them and add some flavor.