A more minimal and cursive-like Hyperbole. Named after a certain Led Zepplin meme. :D

Seeing Beate's gorgeous octagonal font I felt inspired by the shape and those delicious corners. I wish I knew how to be as inventive as she is.

This was a simple idea started from S and T. Most of the glyphs have two verticle strokes that are 4-bricke-wide and a 1-brick-wide area in the middle of the character. except I, L, S and T (actually a lot more). They are a bit different. Especially S, T and L. The whole characters are only 8 bricks wide. As I mentioned above, It's because the whole font started from these characters.

Straka the name came from last name of a person. The S and T reminds me of this person's last name. I like this last name although I don't even know him.

About the Latin extension, I have made only the glyphs that require no new design, just diacritics and already made letters. So I can pretend like hard-working on fonts but copy paste in reality. :P

Also, I made Arabic glyphs. Only isolated forms. Which I suppose won't be a comfortable experience to Arabic users. It's like every letter has crazy swashes but every letters are lightyears away from each other.(or is it?)

Credit me bcuz it took days and I gave it all to you for free. Unthankful hairless ape. :p

has it gone 2 far? hope it didn't hurt you.

Another 2x2 doodle. :^)

Version 1.2

*

A slightly futuristic and stencilesque design using halfwidth bricks.

The idea here was to make every glyph simple and minimal, not only in terms of geometry but line connections as well. Some glyphs are still more complex/less minimal than others, but I think it's a good amount of variety.

Is it Ironic that I spent a lot of time making a minimalistic font? Maybe not...

In any case, this is a font I made with a challenge of keeping every character within a 5x5 block size (4x4 blocks for the lowercase letters)

The only character NOT within a 5x5 square is the @ character. It somehow ended up a little wide.

Stemless superminimal 2x2. It's small yet bold, much like Napoleon!

Experimental multiline design.

3*3 font for micro displays. 900 bits. Any usage.

MOS 2018

MOS 2018 /moʊz twɛntɪ eɪtin/ is a minimalistic, designy font aiming to simplify English lowercase letterforms as much as possible while keeping them recognizable to some degree, using a 3x3 grid.

3x3 cipher, based on version 0.3 of "Micromaze". It uses its own form of binary notation for the numerals, wherein the upper-right 4 pixels play the role of the 1, 2, 4, and 8.

This is the smallest font in which I was able to give a unique symbol to every glyph (excluding the lower/upper case, which look the same). It reads sort of like Pigpen Cipher, but is more densely written.

Since MMC is obscure and of constant width/height, it serves many "gibberish" and "placeholder text" purposes in addition to being a modestly strong cipher.

Original size: 2pt (use multiples of this value for pixel perfection)

Experimental 2x4 font. Not the most legible, but maybe useful as a cipher. It requires some contextual knowledge of what you are reading for the best result.

Original size: 6pt (use multiples of this value for pixel perfection)

my first try for making a compressed pixel font. any comment will be usefull to improve it.

My attempt at a font which uses only one grid square per glyph. I guess this is the Fontstruct equivalent of pixel art...?

As an extra challenge I decided to use no curved bricks. (This rule was since broken to add © and ®).

Even better letterforms could be created by compositing the entire thing. However, the goal here was to do what I could with the existing bricks. As such, only #?![]{}¹²³ make use of composites.

Made after my signature
[on FontStruct in 2013]

Not related to my duplicate-free 2x3
{unreleased and incomplete US-ASCII}

While creating this font, I had 2 tasks:
1. The font must be a minimum size
2. The font should be visually understandable

In the end, I came to the conclusion that 3x3 pixels is what I need.
Unlike some other fonts, I have a true size of 3x3, not a pseudo, sacrificing the classical appearance of some letters and numbers.

In some programs ("Notepad" for example) there is no possibility to adjust the line spacing, so you will have to skip the line so that it does not merge with the previous one...

I hope you will enjoy ;)

This blocky and industrial font was inspired by architechtural features on a large multistory car park near where I live. I took pictures of multiple elements from the building and rearranged and rotated the shapes to create letter forms, and used shading to create a 3 dimensional effect to mimic the structures depth when seen in person.

Very tiny letters with the height of 5px.

Latin caps from "fs ad". 

See more: Pufff, Cless,

https://fontstruct.com/fontstructions/show/1431730/heavy-diacritics-2

https://fontstruct.com/fontstructions/show/851949/fairytale-1 

https://fontstruct.com/fontstructions/show/920104/at_hoppy

Blicket

Blackfoot

Peach Squared

A fairly faithful re-creation of the basic Latin set of the Atari ST 6×6 system font, which was used for icon labels on the desktop (where only uppercase was used).

This monospace font was first created in paint using only the smallest possible grid (3x3), with wich every common glyph can (recognisable) be drawn. In this font not every glyph can be deciphered on its own. But on a second glance you shoud easily be able to read a word, phrase or a sentence.

My Reversecomp entry.

fn('hi\n');