A modular exploration of form and rhythm, this typeface is built from bold pixel units that lock together like digital architecture. Each letter balances weight and negative space, creating a structured yet playful system of sharp corners and stacked geometry. Rooted in retro game visuals but pushed toward abstraction, it feels both nostalgic and comfy – a typographic experiment in grid, mass, and movement. Best experienced large, where its block-built personality can fully assert itself.

I’m sorry to dampen everyone’s day, but I'm sure most people have a some idea of what's going on in the USA—no one here has been talking about it, though, and it has been weighing on me for a while, so forgive me if this feels a little unprofessional.

I've tried to just make fonts, and not war, but I don't view what has been happening as a war—I see it as precursory to a genocide. The building of concentration camps in warehouses, an assembly of "secret" police, even using our own cities as training grounds for military and ICE operations—I'm sure people recognise the patterns; this has happened before.

This isn't just a single genocide, but rather one among a long line or genocides. It runs in tandem with the Palestinian massacre, yet it mimics how Hitler massacred the Jewish peoples, as Hitler mimicked the massacre of the Native American peoples, and even more than the four already mentioned. This cycle needs to stop.

I know I may be late in the game of standing up, or taking a stance, but I've been terrified to even film what has been happening. The violence that I’ve had become known for, including the shootings of Renée Good, Alex Pretti, and more, have felt like a silencing of sorts. 

Don't get me wrong; I've gone to the protests. But there is a sort of safety in numbers—especially Portland's numbers. However, if I was filming a kidnapping, and they were to break my phone, beat me, and detain me, even temporarily—then I would just be another one of the thousands, if not a near million of the people who have already been silenced.

As a (mostly) white guy, I won't be the first person they target. But, if I make myself out to be the enemy, then I will be targeted. Renée Good wasn't even provoking ICE. Still, she was in the way. So she was made not to be. Alex Pretti was trying to help a victim. He was shot in the back with own gun.

They say these are targeted attacks—meant to remove violent, dangerous immagrant criminals—but every day, it feels more and more like they are just killing the people who get in their way.

And so, I am scared.

Scared for myself, my friends, my family, my school, and everyone who has to live in fear because of the presidents' actions.

So, as a teenage boy, I'm pleading, if from the safety that comes with hiding behind an internet alias.

Can we not be silent?

Based on the PIS display of London Underground 1986 Stock train.

Krasnorossya Script. A script for the fictional country Krasnorossya Communist Union (KCU). It can also be used as a font for fictional nations in worldbuilding, as well as for coded or cipher-style writings.

RIPOUCHA is a modular-based display font inspired by the rice pounding chant (hò giã gạo)—a folk song genre originating from the Central region of Vietnam. 
By integrating the shape of the mortar into the negative space, the glyph set presents the symmetry and rhythm, similar to the call-and-response singing style as well as the chant's melody. 
In Vietnamese belief, rice is considered the jade from sky, a metaphor that reminds of the arduous rice production. To convey this aspect, the rice detail has been exaggerated and combined with winding stroke to create an ornamental detail found in most glyphs in the font.

Looks boring, but there’s a lot of work that went into it, I promise. 
There was probably a way that this could have been done a whole lot easier, but oh well.

 • 1.66x1.66 brick scale

 • connect bricks only

An experiment born from a different experiment. 5/3 x 5/3 brick size filters. No composites, almost no nudging, and only a couple instances of brick-patching. Lowercase is the same as uppercase with a few alternates. Full circles for closed counters, half circles for open counters. There are a couple other similar ideas in the works, hopefully done by next month if I have time :)

An experimental  "8-segment font" that I made. It started when I divided a square into 8 parts through the middle. Out of those 8 parts, I would shade some parts to look like characters. Ultimately, it didn't make for the best font design, but I thought it was worth sharing.

trying round experiments~ 

this is never what i expected, here’s an attempt at a rounded typeface i made.

It's technically hiragana, but every character is based/modeled off their seal script(?) counterpart.

Thanks to this tool for helping me out during the making of this idea

(this attempt kinda sucks lol)

experimenting with weird kerning in a font inspired by Wim Crouwel's New Alphabet

This is my experimental font for Russian (any Cyrillic) with vowels written diacritically. The lower vowels are diacritical, the upper vowels are separate letters.

If a word begins with a vowel, its separate type (uppercase) is used.

To correctly write two or more vowels in a row: 1 vowel is written in lowercase and falls above or below a consonant, 2 vowel in uppercase.

---

Это мой экспериментальный шрифт для русского языка (любого кириллического) с гласными, записанными диакритически. Маленькие гласные диакритические, большие - отдельные буквы.

Если слово начинается с гласной, используется ее отдельный вид (верхний регистр).

Для корректной записи двух или более гласных подряд: 1ая гласная пишется нижним регистром и попадает над или под согласную, 2ая гласная - верхним регистром.

Например, "аура" = Аура, "коала" = коАла

The Fence is a display typeface inspired by the fence that runs
along the railway in Phu Nhuan District, Ho Chi Minh City.

This is an experimental font made with Google's AI "Gentype", which takes a prompt and turns it into a full alphabet set. Each letter was carefully mapped fron image to grid.

The prompt I used was: "9x9 pixel art, black text on a white background".

This font is LETTERS ONLY as Gentype only does letters.

a square futuristic font that I made in my spare time

A typeface that experimented with the idea of using an arc, based on the y=1/x equation. I took from Bauhaus and constructivist design principles, that focused on minimalist, geometric shapes, to reproduce a form that rejects ornamentation in favor of pure visual logic. I live in a place where constraints on political power, freedom of speech exist. In small ways, this font is an expression of how one can use restrictions and constrains to shift things in a different perspective, creating questions of traditional legibility hierarchies while embracing the aesthetics of systematic modularity. 

Made with love and care by @sewninternetgarbage on IG

An attempt at making a font with circles & squares. Submitted to my school magazine & got rejected, so I'm sharing it for free.

It's freaking bats!!! A display font made for the cool bats that hang out at the cementary.  It's unconventional, spooky, and spontaneous (just like me).

Inspired by gothic cementery gates, freaking bats, and the night.

something

somthing v2

Thanks FS

Preview

https://www.behance.net/gallery/190889349/BLOS

A thing

THANks FontStruct FOR A COOL GAME

9/16/23: changed the character for the 9.

This font is not a font, but rather a place where I can do experiments like large curves, things that only look cool in outline mode, and much more.

This is published and cloneable so you can see (and use) the experiments for yourself.

Capital A: Various sizes of circles approximated using a standard faux (pronounced like 'foe') bezier curve technique (top) and stock bricks (bottom)

Capital B: A thing that only looks cool in outline mode

Capital C: Approximations of diagonal lines.
Bottom (1): Simple Stock Brick method, using only two stock bricks.
2: Complex Stock Brick method, using three.
3: Composite method.
4: Complex composite method (4x4 composites)

Capital D: (Set filters to 2x2) I wish this was a stock brick / createable brick that didn't require layers or filters.
Ideas:
  -  Allow layers for non-patrons (maybe not colors, but at least layers)
  -  When stacking, don't revert the bricks to their original states
  -  Brick patching (T)

Capital E: Weird thorn brick pinwheel thing. I suppose the last one there is infinitely extendable, as seen in Capital F.

Capital F: Extension of the weird thorn brick pinwheel thing.

Capital G: Capital E but with fin bricks. The last one is also extendable (not shown)

Capital H: Two circles.
On the left is the largest one in the Capital A.
On the right is a slight variation that follows the rules of the circles: Any size circle should be able to exactly fit the one that's two sizes down. This one also looks marginally more consistent as far as stroke weights go.

Capital I: The snick bricks contain themselves.

Capital J: Sierpinski Triangle

Capital K: Capital E and G but with Snick Bricks

Capital L: Capital E, G, and K but with Half-width triangles

Capital M: If anyone wants to make this a font, be my guest.

Capital N: Original concept for Tloak (left), and the updated version (right)

Capital O: Collisions of the New Rings 1, 2, and 4, all offset by just a little, forming New Rings 3, 5, 6, and 7. Just like Binary. (i.e., if you combine 1 and 4 you get 5, or 1 and 2 make 3. Mixing all makes 7, the thickest one.)

Capital P: The capital C with composites expanded

Capital Q: Various approximations for curves at the tops of 1x2 slopes. You are very welcome.

Capital R: Zoom out and press 'O' while in expert mode

Capital S: Rounding the end of a diagonal

Capital T: Various brick patches using William Leverette's Brick Patching technique, found here.

New experiments go down here.
Suggestions and requests are allowed, but spam isn't.

Thank you, STF!
@SuIsJustBack4523721387: Weird flex but ok

(BTW, I can't comment or clone fonts)