Small-grid doodle which creates new combinatorial forms.

I considered this design rather rough and unappealing until I gave it negative spacing. This caused the forms to merge together in unpredictable and interesting ways. The lesson here is that sometimes the metrics, not the aesthetics, are what "save" a design.

Lunais, but with many extraneous details omitted.

A novel Connected Outline design with spiral-like tendencies.

Version 0.3

A small-grid font with character.

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Design Rules:

- No angles.

- Asymmetry should be present wherever feasible.

A flat-topped Decolike. This was a difficult style to work with!

Mildly quirky serif font made for the signage/logos of a certain event. Limited character set.

Experiments in structural dis- and re-connection.

An avantgarde serif with a mild horror theme. It takes advantage of the properties of antialiasing/text smoothing algorithms to render a convincingly handmade aesthetic.

Making attractive, consistent, nonpixel serif designs at this grid size is quite a challenge. Making them look handmade is even moreso. I've tried that many times, but this design is the first such one I felt was truly usable. It doesn't quite look typewriter-esque, but blends well with other designs that are.

For this I used many different serif shapes, with each one depending on how the line it was attached to wanted to bend or terminate. This is in contrast to most other serif designs I've seen, in which the serifs themselves are more consistent in shape. I decided against faux-bezier curves for this, because they all looked way too polygonal. I think this is one of few cases where a rectangular O and S enhance the overall design rather than weakening it.

The original Halberdia as it evolved from from 0.1 to 0.3.

Version 0.5

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A font made for a Terraria mod. It gets its name because parts of it remind me of halberd, partisan, and/or axe heads. I designed this to have the vaguely authoritation look of a Didone as well as a borderline-gaudy look that prevents this from being taken as seriously as other Didones. These changes lent some much-needed character to the prototypical Didone from which this design evolved. The uppercase letters are more heavily ornamented, as if to suggest that they are letters from an illuminated manuscript.

The main texture is a diamond pattern inspired by vent holes in medieval armor. These were often made with a square punch, and help the font look more handmade.

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Notes

The wider letters are incised, which seems to lessen their perceived wideness by breaking up the shapes. For me this effect lent a more natural flow to the reading.

The ornamentation rules are complicated and factor in lettershapes, English letter frequency, and the existing design parameters. One thing I can concisely explain is that glyphs which normally look fairly plain are ornamented to such an extent that they make others look plain instead (CGJLT1 among others).

This time on "Maxi's terrible fonts"

Version 1.1: Simplified the uppercase to improve readability and made the lowercase more stylish. Did some more kerning, as well.

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Hey Guys It's Ya Boi Zeph Here Bringing Ya Another Font With Diamonds. Don't Forget To Like Comment And Subscribe!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

I finally made a folded-/ribbon-style design. This one contains a number of experimental techniques. Most notably, the swept parts of glyphs are allowed to extend beyond the letterwidths and sometimes even the baselines. This enhances the sense of movement, creates some interesting linkages, and reduces the need for kerning.

All of these shapes can be constructed with paper or ribbon, although lots of clever folding tricks, doubling, and pinning down/securing with glue would be required.

Alternate tilde on "±".

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Chamadarya is an Integral Artifice (synthetic universe) I created for the ESOSVM simulation in 2013. It's a place dominated by vast stretches of open sky punctuated by extremely tall mesas and plateaus. Most of the buildings and temples there are made from chrysoberyl, which is extensively engraved, often with a lettering style that looks much like this. Of course, that language is non-Latin so it looks nothing like this design.

Version 1.1: Improved several letters and numerals.

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Structurally, this is sort of like a fusion of Ghost Town & Lasagna Cowboy.

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A double design in which an inner letter becomes the loop of an outer letter (best seen on "a"). I don't know how to finish it, and I might not figure that out for some time, so here it is. Feel free to take it further.

A design with small caps... by which I mean the caps are lowercase :D

Alternate plain version of Funkytown Throwdown. The spacing has been reworked for this one.

Just doodling with the Connect bricks!

Sometimes the stray particles connect to form new shapes, and sometimes they don't. I rather like the seeming randomness of this property, so maybe I won't standardize it after all.

Iteration 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.

Somewhat of a accidental goofy future retro style font.

This initially started as a experiment into discovering new ways within small grid designs to gradually increase the radius of a small curve and find new transitions in their shape for making asymmetrical curvatures, all without compromising the smooth edges (2x2 for this one, with hairline stroke weight of 1/8th of a square grid unit). But, it quickly became a real font.

I have kept the variations for a number of eliptical shapes and curves I made so far in order to demonstrate what the goal for this was.

I hope you like it.

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.

A continuation of ideas present in Limbus, with a bunch of new ideas for good measure.

A quirky Pseudostencil design with a central horizontal slot going through it. The "slot" is 1 brick tall for lowercase and 2 for uppercase, and becomes a vertical slot for numerals and certain symbols.

This is named for the cowboy and lasagna emojis. These were repeatedly added to then removed from several popular chat clients and websites. Changing emoji standardization or government conspiracy? YOU DECIDE.

By request. The name is Dwarvish for "Matchshattered" ("Equalshattered"), an artifact iron axe carried by Mosus in Kruggsmash's YouTube videos about Dwarf Fortress.

Numeral digits are to be seperated by spaces.

A vaguely Courierlike OSD (Onscreen Display) font which tries its best to be casual. The name is inspired by the old computer joke: "Who is General Failure and why is he reading my hard disk?"

No filters or faux-beziers, just stock bricks and a bit of stacking/nudging!

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More about the design:

It started as a doodle and an attempt to make a smooth, low-resolution, low-poly font, and then it became a Courierlike. I have other fonts that tried to do polygonal round shapes before this (such as Cartoon Riot) but this design is my first real success in this area.

Initially, I made the angled glyphs before the round ones. I didn't want to change the angled ones, so glyphs like C, O, and Q became a bit wider than they are tall. I'm quite fond of this, because in most designs these glyphs tend to have a tall and narrow character. I think the mildly squat look of this font makes it cuter and gives it more personality.

A lot of glyphs were altered in specific ways to look more like metal type, especially anything with diacritics which touch the letters themselves. Other glyphs were altered specifically to be interpretable at small size. I also use angled contours and actual round bricks alongside each other within the same glyphs, another technique which is geared toward style and interpretability at small size.

This font came with many new challenges and an array of new techniques had to be designed. Loops were an insurmountable challenge because of the low resolution and heavy line weight, so I drew rounded areas to suggest them. You can see it on letters like Greek γ, ζ, and ξ.

By request, a chat/comics font which combines features of "Micro Machina" and "Chlorophyte". I took some other liberties with it as well in order to make it more distinctive (see MSVWacegjmtyz).

This turned out extremely well! It's more open and airy than many of my larger designs, and is pleasant and easy to read even at the original size.

Supports Dutch and English.

Sometimes the smallest and simplest change produces the most drastic results.

Version 1.2

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This font has everything Zeph-y. Decolike shapes, half-arcs, procedural asymmetry, slight gaudiness, and an ampersand that looks like a priest with a cross walking on the ocean waves.

Solid Quartzthrone. Somehow, this looks more "cartoonish" than the others.

A Quartzthrone variant that looks like fancy upholstered furniture (or cactus heartwood).

More multiline Romanesque doodle thing.