Another calligraphy inspired blackletter-ish design.

Argh, I wish I never started this, It was terrible amounts of meticulous work and I wonder if ill ever addthe  lowercase letters to this type!!

GRID DIMENSIONS:
172 x 74 units
FILTERS:
0.5 x 0.5 grid scale  (and still no full glyph fits on screen)

A decorative insular display font.

This is still a work in progress. I'm pushing the new bricks, stacking and nudging to the limit to create some nice flowing shapes. This is also a great opportunity to get working with some good kerning. Once I have the basic character set, this is going to be submitted to Google Fonts for approval.

A project I've been working on for some time that combines a readable writing system with a means of creating decorative streams of symbols, allowing for practical or artistic use. It is designed to be writable in the same way as English, with a couple key differences:

end of sentence within a thought:
. = SPACEBARx2
? = ?SPACEBAR
! = !SPACEBAR

end of thought:
. =SPACEBAR-
? = ?-
! = !-

end of paragraph:
. = .
? = ?-
! = !-

numbers:
numbers at the beginning of a sentence = ###-SPACEBARtext
numbers at end of sentence = textSPACEBAR-###SPACEBAR-
Use as applicable to avoid numbers and letters bleeding into each other.

For purely artistic streams of writing, Start every sentence with a capital, skip spaces, and use '-' as a period. This allows for a smooth bar of symbols without any random bits jutting out that can be used for framing or backgrounds.

"You'd have to be a magician to read Trafalmagus!" - Brer Bripes

A font made to evoke magical talismans, wizards' engravings, Celtic/Viking wirecrafts, and all that good stuff! It has a pseudo-segmented display that draws lines between segments. It also slightly reminds me of the folk art which appears on crockery, earthenware bowls, etc.

The spacing is set so that 2 spaces is 1 letter's width. Use this to simulate a monospaced look when desired.

The lowercase looks like lowercase, but it is really an alternate set. This was designed to be written in one case at a time.

Original size: 8.25pt (use multiples of this value for pixel perfection)

ORIGAMISH v2

This version features both upper and lowercase characters plus some minor changes to it's appearance!

ORIGAMISH v1 - Incised origami.

---This version only features small uppercase characters---

A funky idea that started with the A and expanded from there. Most letters are drawn by a single line winding around, although some are just not willing to follow this mantra. I found this half-finished while scrolling through my private FontStructions, looking for ideas for the CounterComp, and decided it was already an interesting entry :-)

There's an alternate, narrow set of numbers that can be reached with Shift+number (on a QWERTY, Dvorak, etc. layout); not sure which set fits the style better. Suggestions and critiques welcome for anything, and feel free to clone and poke around with it. Thanks and enjoy!

Inspired by the letters found throughout Betondorp, Amsterdam!

Finally, an All Stars that is truly "all" "stars" HAHAHA GEDDIT 

Plain version of "All Stars" prepared for pixel art use.

Original size: 12pt (use multiples of this value for pixel perfection)

Variant of "All Stars", modified to be suited to pixel-art uses.

Original size: 12pt (use multiples of this value for pixel perfection)

A star font which combines a pixelated look with halftone shading.

It needs some form of antialiasing to be legible at small sizes. (See sample below or try the Pixel views). At larger sizes, you can use it with or without antialiasing!

Original size: 12pt (use multiples of this value for pixel perfection)

A piece of constructivism inspired by Dutch artistic movement "De Stijl".

A piece of constructivism inspired by Dutch artistic movement "De Stijl".

I made a circuitry-esque look, then started embellishing it.

I'm not sure why but I now get a strong "medical" feeling from this one, as if this font were used for the display on some sort of futuristic surgeon robot.

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.