A harsh 2-in-1 pattern font.

A design that combines tropes from fantasy, sci-fi, and sports in a subtle and pixel-optimized way.

Structurally, this looks like a high-res version of Marengi Mk2. There are still plenty of differences between the two, but since they seem equally readable to me, I'm tagging this as a chat font.

A hybrid font made for a friend's game.

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See also:Fuzzy Logic

A design which uses two crosses in the counter shapes of most glyphs.

This started out as a pixel demake of "Refollte", but was then metamorphosed into another high-res design.

DNA-esque doodle.

 Wackathetica is derived from Struck, both fonts were created by me (Doug Peters).

Wackathetica gets its name from the idea that I borrowed styling cues from serif, slab serif, and sans serif, even goth cuts and rounded font typographic designs to make a pretty wacky typeface.  A couple of alternates are included in the unicode Halfwidths and Fullwidths register.

Vertical lines are thick, horizontal lines are skinny.

Copyright 2019 Doug Peters (https://www.Doug-Peters.com or https://Dougs.Work) of Symbiotic Design.  This quirky, wacky font is now available on Creative Fabrica...
https://w3n.us/Wackathetica

PayPal donations (to encourage my continued freeware font design efforts):
https://paypal.me/sitedesigner

I classify it as: Hybrid, Semi-Serif, Casual.
Weight: Extrabold.
Web font: Yes.
Commercial use: Yes!
Derivatives: No.
Redistribution: No.

P.S.:
Font-Journal:
https://www.Font-Journal.com
My best web hosting solution:
https://HDWebHosting.com
Blog:
https://Worthful.com

By request, a semibold outline font with a halftone drop shadow. Although Pixel Optimized, it's made for large size display.

IT'S-A ME, IMPRESARIO!

Asymmetrical alien techno stencil.

This uses some experimental techniques, of course, but I'm not sure how to concisely explain those. Let's just say that each type of line bend and line connection has a rule associated with it. These get naturally modified by the structural asymmetry the font has so that simple rules appear in many forms and variations.

An attempt to make an esoteric form of Latin which is governed by the same amount and extent of structural logic as normal Latin. In other words, Latin that is weird, but makes sense while being as readable to the initiated as normal Latin is. It's a design that is weird in order to make itself easier to read, not harder.

This is a borderline IVO design, not because of its appearance, but because it sometimes requires the same set of visual considerations to interpret.

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.

Font for Razma TV, a procedural TV show generator.

This has already proven quite useful for making scanline art!

A space-esque design made for a friend! The angular counters give this a simplified geometry which makes it easy to read despite its looks. Works well for small- or large-scale applications - chat, terminals, logos, and more. Supports Dutch, English, and Greek!

The original was cloned off and preserved elsewhere. The version you see here has centered glyphs.

A variant of Radio Grave which took many hours to produce. I think the effort was worth it! This is a functional Multi-font and can produce a broad range of effects, especially when used at down near the original size.

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Shading Rules:

1. Use the darkest tone on the outermost concentric region and get lighter as one progresses inward.

2. Let the 5x5 region surrounding the exact center of each glyph use the lightest tone, except when this would place the lightest tone into its neighboring region.

3. Glyphs with diagonals and glyphs which use a smaller than 5x5 drawing area may bend rule 2 for the sake of more consistent and/or interesting shading.

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See also: Fuzzy Logic

Original size: 12.75pt (use multiples of this size for pixel perfection)

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.

An experimental design which looks like it's obscured behind chicken wire. Best used with negative line spacing so the rows form a continuous surface.

Version 1.3: Added Polish.

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Another asymmetrical sans-serif made for use in rulebooks for the Freeform Limitless Adventure Kit (FLAK) pen-and-paper game system. This one is classed as a hybrid and works well at all point sizes!

It began as a Constant Height design, but now I don't classify it as such since most of the letters with diacritics are taller than those without. A few letters (eszett, thorn, eta, etc.) are allowed to descend slightly, as well.

This font has also found some use on signage at a friend's bistro!

Experimental font doodle made with the pizza slice brick. It reminds me of the keeled scales of a viper.

This creates many distinct visual effects depending on size and coloring!

A dashed line design made with the new half-arc bricks. The emphasized spurs/stems and off-kilter geometry give it a quirky, almost handwritten quality. Its striped appearance makes me think of candy as well as the Cheshire Cat, thus the name. :D

I doubt the upper case would look as cute as the lower. So I've cloned all LC to UC to make this easier to use...

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".

Acrophobia with ratios changed so it isn't quite as tall. There is now line width variation which slightly enhances the "engraved" look this design has.

Unlike its predecessor, this one works well as a pixel font!

A font made to the height of the visible field when the FontStructor is zoomed all the way out on my screen. I've always wanted to make something that vaguely pushed one of FS' limits - in this case, the height of the field which I can observe without scrolling.

Well, I could've made this even taller, but I wanted it to be somewhat useable at least. :D

This was originally a pixel design, but then I changed my mind and converted it to high-res. That gave it a more architectural look.

Made by request for an associate. "RADD" stands for "Research And Development Division".

A stencil design in which diagonal cuts are used to imply angles and curves. It does not quite obey the rules of a segmented display, but it tries its best!

This is inspired by some text I put on the side of the Sheepslayer Mk.2, a flying dragon car piloted by Lyll "Hatch" Soretti in my game Seven Candles.

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

Another mirror font! I made it in a square style so it would mirror more neatly. This also had the consequence of giving the font a "runic" look.

Looks best at Pixel sizes, but works with any size!

The name "Mirror Mang" comes from two things: the Captain Beefheart And The Magic Band song "Mirror Man" as well as the way my friends from New Zealand say "man".

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Original size: 7pt (use multiples of this size for pixel perfection)

See also: Glassmakers Guild, Heraldic Emblems

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

An experiment which attempts to harmonize soft curves and straight lines while eschewing angles. The result is this "inkflow" design. What is the opposite of an inktrap? I don't know, so I'm calling it inkflow.

This could also be viewed as a hybridization of neon-style lettering and normal sans serif... it is not quite made to be either one, but could act as a decent companion font to them. Most neon fonts need a larger size and are thus more suited to headers, while this design is well suited to body text.

This could also ALSO be considered a Hybrid because it works as both a pixel font and a high-res one.

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)

Alter version of Game of Strife. These two designs are for a project that is in progress. They're made to animate and swap between each other so that the text they print seems "untrustworthy". 

(If you guessed that this text was being printed by an evil AI, you've won! Here's your free Nothing.)

Experimental multiline design.

Experimental 24-segment display or massive monochrome Mondrian matrix. Pixel compatible!

The thinking behind this one was that with incongruously sized segments arranged in the proper way, I would create a design which was effectively 5x5, but which accomodated more glyphs than 5x5 usually does. Negative space is incorporated into the structure of many glyphs, though not enough to classify this as an IVO design.

"Qualtron" is the name of an imaginary entity that a friend believed in - a being meant to represent the result of "a mathematical equation that can rule the universe". I didn't inquire further about it... :D

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Design Rules:

1. Segments can have interior length/width of 2 or 5.

2. The central 2x2 square must always remain open.

3. Square bricks and 90-degree angles only.

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Original size: 20.75pt (use multiples of this value for pixel perfection)

I'm having agrate time here! I can hardly cage my excitement.

This effect font can achieve many looks - riveted plating, segmented displays, spectrograms, grills, cages, formations of vehicles seen from high altitude, jails, and more!

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See also:Hardtime