From various games written in my ESOS engine.

When Malil Ehnetahine wishes to speak, she calls up the wind to bring her Temper Tree leaves, which form the shapes of these letters.

This font is accurate to the ingame font and is finished.

An all-caps Slab Serif display type inspired by early 1900s themed font.

This font has a narrowed structure as well as a low X-Height throughout the entire typeface giving the typeface a more relaxed look. 

Bow Tie

A dapper little typeface.

  Who says you need to be bulky to throw your weight around? Built with a boyish frame, this slender typeface can be handy when you need to "think skinny". A few dashing details dress up the average serif and is only for those who politely dare to be different. 

My first time create typeface. Inspired by vintage patterned bricks Vietnam in the late 19th century and and Old English. Each glyph has same curves.  Suggestions and critiques are welcome. Thanks!

@This is an extended version of Ostara Aria and more elaborate than the "Kerbe" designs. I changed the look of the LC and adjusted some of the UC.

Now the UC lace is better structured and distributed; glyphs A,N,M,U,V,X,Yand their LC, and @,7 and quotation marks have changed shape slightly; missing glyphs on the More Latin set (and the entire ExtendedLatin1 for my family, friends and aquaintances across Europe) needed quite some work due to the ornate sections - I hadn't planned on making this many glyphs, the ornate look  was just intended for display UC of English, German and French and not for any other glyphs. Getting diacritics to look good with the decorated UC glyphs was a challenge but I think the ones I've decided to use don't overdo the ornateness nor distract from the glyph's shape.

Due to the new glyphs and diacritics I should have added 1 pixel height to accommodate the decorative lace element more obviously. Instead I changed some shape-rules ever so slightly to have an easier time adding the lace brick.

The LC is now solid black; diacritics have some added lace to integrate better in the  design. The LC gives a separate font which might be of interest for headlines, advertising, on signs, cut to sew on fabric etc.

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Note that there are still some adjustments/spacing needed; the kerning isn't finished yet either. I'm publishing this to get constructive comments  -- and praise ;)    

[youmoor]I plead for an algorythm that allows one strange/incomplete comment or (psychosocial) pinaillage for every 1 or 2 sincere (++explained) praises :D   Applicable not every minute of the year you understand, only from GMT 0:001h Mondays to GMT 23:599h Sundays [/yoomoor].

The font's name is Malagache. 

I enjoy fantasy and such, so I thought i'd do a font inspired by maybe some sort of dark arts. I was thinking of dragons when I created this font

2050 La humanidad está al borde de la extincion. Unos exploradores encuentran unos antiquísimos manuscritos.

This Typeface is based around the idea of an Abstracted version of lace. This block letter is Transcribing the idea of lace normally being quite dainty and delicate, and this type is more obscured and bold.

The word 'Messy' led me to consider my personal habits, especially my hair. Through exploring my own photography of hair arranged to form basic letter structures, I considered texture, shape and tone. Further research and discussion introduced a resmblance with 'Black Letter' type ie. thickness in line. Therefore, I combine hair aspects with the traditional typeface. I believe my creation successfully modified the well known font by introducing more complex curves while still acknowledging the original theme.

Dehumanised is a typeface drawn forth from the deepest parts of a mind challenged by illness and intrusive thoughts. It hopes to create an avenue of expression through its bold, sans-serif design combined with a strong theme of slashing and debris. It was informed by the illustrative manifestation of anxious, angry thoughts cutting through simple day to day life and new ways to combine different versions of destruction into a dystopic yet coherent typeface.

Made to print some decorative corners on A4 sheets; this will make a novel Yule gift for someone lucky enough to know me ;)

Of course it could also be used as a code:D

I created this typeface around the theme of gregarious, focusing on gregarious plants. I started with drawing the letterforms in ink using a rolled up leaf. The results were twig-like marks which reminded me of the illustrations from 'A Monster Calls' so I developed the letters thinking how they could work alongside this or another story. The name 'This Wild Earth' is taken from the book and I think reflects the scratchy and bold feel of the typeface.

In this typeface, I have explored the idea of order and systematic design in an urban surrounding. Following the natural lines from the cement of a regular brick wall I have used the repetitive pattern and method to mark the outline to my type face. This font is primarily created for using in titles and headings rather than in a body of text as it is more impacting as well as visually striking and eye catching.

Serif comp entry number1. No numbers nor any other glyphs at the moment as I'm working on various important projects. For now I pronounce this font finished as it's perfectly useable for posters, signs, parties, made for use in English speaking countries or for use in languages that can get by without their specific diacritics and other glyphs.

Sorry my dear European families and friends,  we'll get our own cultural heritages honoured with our own glyphs after this competition is over as it does take time, effort, patience and designing to make them.

I wonder how long before this font is downvoted without a constructively useful observation --- simply because it was designed by me who critized someone's attitude regarding his lack of respect for another Fontstructor's absolute right to be an individual and create a font exactly how he/she wants  it to be.

Small Circles Only

First there is a flourish, in which the beauty of progression is materialised through growth. Followed by distortion and an imminent spoil - I was inspired by this cyclic process. 

Angles cant quite define this typeface, so 'Spoiler' as a decorative font chooses to ignore certain standardisation rules; each letter tries to recoil back into what came before. 

The lettering, as I discovered through paper manipulation and layering, works organically off screen, for collage and mixed media poster design. 

This font is based off the theme 'Wicked'. This is just a draft, but it is a complete set so I will leave it up to show my progress. This font uses spooky dead trees to make letter forms. This was not intended to have anything to do with Halloween, but the full set of characters was completed on this fateful 31st. Feedback is welcome! 

This had the look of the original reverse-comp entry. Then the save ignored me, as you can see. Another of my basic fonts died in silence. Again.

I've  returned too late to make a special font for the Reversecomp. I already had changed some aspects of the "Lord Calendulos" version of Calendula set in the clone taken and finished this Lady version today. As my competition entry I flipped the Lady Calendula glyphs horizontally. This means my reversecomp entry font "Calendula Lady" can be used like a plane shadow when placed under Lady Calendula. 

A Lady style font. For the calendula flower. 

Taking the idea of "reverse" to a heady level of crazy ;) It's based on 'Solstice Wege'.

I know it's the clone of the WEGE version but it still took some time to flipand/reverse parts of each glyph to obtain an interesting visual without having something hopelessly  messy ... I enjoyed flipping and  reversing to deconstruct the original to get a disrupted look while maintaining aesthetics.3rd entry for the reversecomp

Reverse in the  visual context can mean many things. I decided to create letters and mirrored them, attaching them to a spine.The letters looked like filigree jewellery  pendants.

I know that the I , T and W don't follow the design rule; I tried to align them on a spine but the result was unsatisfactory.

Here you can see my headache relating to composites for the new bricks. The 4-way link shows that our present 16 brick limit for composites is insufficient if we want precision joins. I discovered this also with the 1 and 3 linebricks. I wonder how Meek managed to create the bricks ;)

This is the 'positive' version to  the 'negative design' n8 Solstice versions and shows that the boxy look seen there is softened through curves and airy lines. There is a lot of charme and elegance in the glyphs. The Q, Z and 2 gave me so many problems in the parent font, here we see why; I think I succeeded using the decorated boxes I introduced in the  parent font, to create interesting slanted lines in some glyphs that can have tricky slants. This isn't for the reversecomp even  though I made it after the Solstice versions white-on-black.

I had thought of making this my 2nd competition entry but while it's attractive it lacks something.

It shows all horizontal and vertical lines that weren't placed in its parent font "n8 Solstice noir". But the font itself still uses white cut-outs in a a black rectangle.

Somehow this presentation reminds me of a lino print, stencil, photographic negative.

The original font didn't disturb me, this design however kept nagging me, wanting to get out as a positive.  I couldn't resist this demand and turned its clone into the usual black-on-white presentation 'Solstice Day'

My 2nd entry for the competition.

This started  as a doodle of a strangely shaped  Z and a number 2 with slanted links created by unusual shapes. I also tried to design certain letters with lines that broke with tradition, but which could somehow still be added by the mind. A little in the style of  the "join the dots" games my grandsons like.

I enjoyed the challenge, setting corners and seeing the horizontal and vertical lines in my mind. It made me look carefully at the internal structure which often wasn't easy to see due to these many gaps. That's when I started adding circles, they gave sense to the inexistant striped lines and helped me see several mistakes concerning line heights and how the conneting bricks would join up, which took another hour or three to get right.

In the end I cloned this design and filled the missing horizontal and vertical lines to  make sure all heights were correct -- and told myself that I could have started building this font with all lines first, then change the straight  lines into black bricks. But I believe that starting with the join-the-dots idea to build this version made me look more intensely at possible shapes and ways to join them, creating slanted lines inherent to some glyphs in a more artistic way which I found satisfying once I had finished  the font.

I decided that turning a "usual black-on-white" font would be a good way to reverse a font; hence some glyphs are easier to understand than others. I think that artistic minds will enjoy the graphic feel of the quirkiness :)

For some a certain type of (future) text I'll use some of the more abstract looking glyphs as decorative inserts and frames.

The font's name is taken from The Emerald Tablet.

Inspired by a lace edged table cloth. Good for a word of greeting on a card for Easter (or Ostara, but you're a day late ;)  so you best grab it for next year... )  It would be great to use on cards, labels, book bindings, for someone doing needlework, crochet, knitting, tatting, macramé, sewing, stencil work and similar paper or thread based  crafts.