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Linestrider's two-lined little brother.
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Probably won't update this one again, because it uses a lot of brickswapping and so it is likely to get corrupted by additional editing/saving.
This is a clone of LinestriderIteration 4: Basic Latin kerning finished.
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DOODLE DOODLE DOODLE!
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Design Rules:
1. Letters with spurs will have the spur begin at the baseline. This provides the distinctive "high heeled" look.
2. Any letter whose traditional design has a straight vertical line on its left side will keep the line, no matter how the lines of the actual letter travel.
My attempt to do something different with Structurosa.
With such a small grid and such a distinctive look, it was hard to alter the concept without turning it into something else. The fact that I didn't bother looking at any references save for the FS logo itself probably didn't help. Out of all my experiments, I thought this one looked the best and most original, so here it is.
By request, a decorative font based on playing card suits. This will be used by a certain group of card players.
It is not the most readable design, but these requestors wanted it to be esoteric. It's meant to have a bit of a "secret code" feeling.
I decided to make a design which incorporated the thinnest/lightest weight lines possible in FontStruct. This is the result; I'll add more if people like it.
These 1/32 lines cannot be accurately nudged, so a unique line has to be built for each vertical position where I want a line. These lines also cannot be centered on a place where two curves meet (such as the middle of B or R). This introduces some unintentional asymmetry to the design, but I like it, so I'll keep it.
There is also the problem that forming a diagonal line of the same line weight is nearly impossible. While angled 1/32 lines can be formed, their angles are all close to 0. No method exists for making a line which slants at 45 degrees while also being 1/32 weight. So, I had to make some thicker lines in certain areas. I don't think they detract from the design, but if you scrutinize this enough, you'll notice them.
Mechanical Horse resembles the engravings which might be found on a mechanical horse such as the one from Vampire Hunter D. What qualifies me to say this? Well, I watched Vampire Hunter D a couple of times and have been speculating wildly for decades, which is more than enough time to get good at it.
Please exercise caution when handling Mechanical Horse. Its edges can be pointy.
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.
A font that walks a thin line, even when it walks on its hands.
This font tries to use the half-arc brick to its greatest potential. Since this brick isn't the same width as the others, it causes the thin outboard lines to be cut a bit short. This in turn causes the eye to interpret the corners they form as rounded, even though the curved parts of the glyphs themselves are very small. In this way the half-arc brick helps create curves and harmonize them with angles.
A highly abstract, mandala-like segmented display which turns bodies of text into primitive starfields, complete with constellations, planets, and space debris. As it turns out, there are quite a lot of ways to write, draw, and encode information with this! Check out the sample text views and try preparing some text of your own in the User Input field.
The name, and the background of the sample art, are inspired by some art/lore from a friend. <3
I might make more designs like this for generating different kinds of art/textures. If I do, I'll probably scramble the display pieces among the alphabet. I didn't with this one, and for certain kinds of text input, that might show.
By request, a polygonal font with a slightly militaristic feeling.
The truncated polygonal perimeter of most glyphs is somewhat inspired by the lettering on World War I planes, tanks, and ships. These forms of lettering tended to have more square aspect ratios. I changed that to give this font more personality and to condense it so more text could fit on a line.
In terms of what modern military setting this might fit into, it looks very Air Force- or Navy-esque to my eye. Check out contemporary video games and recruitment materials relating to those two branches and you'll see what I mean.
Formerly known as "Specula".
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By request, a font with the two-toned look of a Pokéball. No filters! The Pokédollar sign can be found on "¢" and a Pokéball is on "•".
"Eviolite" is an item that powers up the defenses of Pokémon that are not fully evolved. Looks like a lavender-colored gem.
By request, "a font that looks like a hybrid of Greek and Latin".
This is designed to be modular. UPPER CASE contains the standard glyphs. Alternates are on the lowercase as well as the More Latin band.
"Novus Graecorum" means "The New Greek".
Supports Dutch, English, and Greek!
When life gives you halflemons, make Halfade!
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This is what I call a Plain Spurless design. There are no actual spurs, only right-angled corners to suggest spurs. All lowercase letters are like this except r, which is a Rounded Spurless because it needs to curve to avoid looking like Γ, and because it's only 2 bricks wide so there's no other place for it to curve.
I made this to have mostly right angles, to have a condensed look (see filrt), and to be good for speedreading. My own experiments in speedreading favored glyphs with simple curves which don't terminate in small arcs (see CGJSZfgjrsyz@()[]{}). There are exceptions (c2369?$) because these are more recognizeable when they have such arcs. Additionally, glyphs such as BPRXY have slightly rounded counters near the vertical center, which enhanced their readability without causing them to look out of place.
The remainder of design considerations were things which are fairly idiosyncratic and unlikely to be discovered by others. For instance, the descender of Q is 2 bricks, while lowercase letters' descenders are 3 bricks and symbols' descenders are 1 brick. This is the result of a technique that attempts to visually codify different cases & types of glyphs. The slightly different contours thus formed by each word on its underside seem to enhance both readability and aesthetics.
because negative space is all the rage these days
i put like 0 effort into this so there might still be some font left over, lemme know if you find it
btw how many times has this been done before? i'm genuinely curious
recommended use: don't
alternate name: the emperor's new font