Version 0.5

*

Doodle doodle DOODLE!

The flaws which were previously evident in the counter shapes have been corrected. This design is now suitable for use at any legible size.

Version 1.1 - Added Polish.

*

A font for times when Immersive Mode is turned off. This is used for documents and signage within the Euphedoran Extradimensional Research Institute situated in Euphedora, Greater Azwelkeland, Planet Ashr within ESOSVM.

EERI is known for Fengmiao Fukota, Salva Dheen and Triste Marinan, three of ESOSVM's most-learned and chronologically oldest AI characters. The lattermost of these is often consulted (through a software called MIDAS) for analysis which I use to improve the readability of certain fonts.

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.

A harsh 2-in-1 pattern font.

Revisiting Celosia, this time with faux-beziers instead of pixels.

Alternate @ design on ©.

THE MOMENT YOU STEP INTO SPOOK MANSION, YOU REALIZE YOU DONE GOOFED UP. THE DOOR SLAMS SHUT BEHIND YOU AS SCARY PIANO MUSIC BEGINS TO WASH OVER YOU AND TERRIFYING KICK DRUM SOUNDS BEGIN TO PUMMEL YOU. WITHIN MOMENTS, YOU ARE DROWNING IN A SEA OF EERIE AMBIENCE. "WOE BETIDE THE FOOL WHO CONSPIRES TO TAKE MY RICHES!", SHOUTS A GHOSTLY VOICE SOMEWHERE BEHIND YOU. YOU TURN, BUT NOTHING'S THERE. BOO! LOL....................................................

An experimental pattern-fill design. Check it out at 2x Pixel size!

Supports Dutch, English, and German at present.

This is an unofficial forum I have made for FontStruct tutorials and educational materials. Want to know how to do something, or how to make a certain style or effect? This is the place to ask. I am not part of staff, and am far from being the most advanced user on here, but will pass on whatever I can. 

I have been writing an FS video series for some time, but it has proven very time-consuming to make the series as comprehensive (and as high-quality) as I would like. It has also occurred to me that I can teach a lot through simple text and graphics. This is my attempt to create a knowledge hub for FS where all the good stuff is in one place. If you make a tutorial or expand on mine in some way, you're welcome to post those here as well.

Please keep the discussion topical. This page is about tutorials, requests and discussions for them, etc. Idea Soup is more of a free-for-all and anything FS-related is accepted there. Idea Soup is also a good place to discuss tutorial ideas, since we can work out exactly what needs to be taught there without clogging the comment section here. (There is a limit on the number of comments this page can have, right?)

This page is open to users of all languages, but we may have to use Google Translate to answer you. Sorry in advance for any bad translations :D

*

Related Forum:FontStruct Idea Soup

The font used for these forums is Tangereen 2.

Is it Serif or Sans? Western or Gothic? Double font or not? One thing is certain: This is not a time-travelling alien. Probably.

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 pixel font which combines four experimental techniques at once:

1. Structurally disconnecting the stems from the open parts of letters.

2. Allowing glyphs to extend beyond the reaches of width and starting position.

3. Designing glyphs specifically to connect and form new shapes, rather than simply allowing shapes to emerge from existing characteristics.

4. Designing glyphs so that the overall font is free of a need for kerning.

*

Alternates are now on UPPER CASE. I'll continue to update this as I get more ideas!

*

Original size: 6.75pt (use multiples of this value for pixel perfection)

A slightly leafy engraving-style Decolike.

By request, a condensed and quirky outline font!

*

Original size: 7.5pt (use multiples of this size for pixel perfection)

Version 1.3: Added Polish.

*

This font used to be a normal Decolike... until someone decided to chow down on it! They seemed to prefer the taste of spurs, as all of them have been bitten off, leaving only semicircular impressions.

"Nervousa" is an anagram for "Ravenous".

A variant of Marrada with more angles.

Usually with designs I try to make every part look like it "belongs" with the others as opposed to trying to make each part look its best. With Marrada, I struck a balance between the two. Q1@*&{} are probably the best examples of this sort of balance...

Version 1.3: Added Polish.

*

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!

A more bookish take on Comicool, made for more comfortable general reading. It's still useful for comics, as well!

Many letters were squared off in the corners, lowercase letters were given stems, and an assortment of glyphs were edited for more style.

This is the third iteration of Comicool... rather than develop them all toward one style, I tried to make each iteration the best it could be. The result is three distinct, but still compatible styles. This one is probably the best for body text!

A semibold Gongclonker made to the same specs as the original - 5x5 with no wasted matrix.

AZUL is BLUE in Spanish. I choose the word blue because it always reminds me of ultra bold fonts. But i feel like just "BLUE" looks dumb so i choose "AZUL" instead. Btw blue in Chinese is "lan". Just imagine "LAN" as it's name lol.

Least important stuff :

I got this idea when i was thinking about if I design a poster for a JoJo character. it'd be Kira Yoshikage. And I was like "Gotta need a ULTRA bold font to show he's really danger" Now you know this totally unuseful thing :P

A little more important stuff : 

This font is free for all use.

DO NOT PRESS THE B SYMBOL WHEN YOU USE THIS FONT. SERIOUSLY, DO NOT

lqi laugh quietly inside 

Some kind of great big ol' chain.

In retrospect, I think it looks like a jewelry chain from a dwarven civilization. Perhaps the hypothetical jeweler cut and ground the stones in an imitation of some dwarven font!

When glyphs are used in isolation, they somewhat resemble carved signets or seals. Increasing the letter spacing allows you to create a variation of the design. (This is something that must be done in-software since the font will render as monospaced by default.)

*

12SEP2018: Added lowercase... the low resolution combined with the design method make it very difficult to render distinctive lowercase versions of every letter, but I'll keep working on it. There's a lot of similarity between pairs like S/5, Z/2, etc., so this font is most effectively used in forms of writing wherein context suffices to inform the reader as to the identity of each glyph (lists, prose, and technical writings). If you want to use this in a password system or something, I recommend using one case's glyphs only.

*

Design Rules:

1. Negative spaces will be areas of 0.5 bricks' effective length or width.

2. Negative spaces may exceed the 0.5 measurement only by increments of 0.5 and in only one dimension at a time.

3. Glyphs will fill their framed canvasses to the greatest extent possible while adhering to the other rules.

Alternate take on Nirvanite, this time with bullseyes rather than solid circles as the large segments.

This one is a lot more organic than its predecessor, but also a lot more confusing. Looks like clusters of alien tadpole eggs to me!

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

*

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.

*

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

A 117-segment display made to have a more "mosaic" look. Try using this one at odd sizes, especially with antialiasing off! The resulting distortions occur in a consistent way which leads to many new uses for the font.

Original size: 38pt

A multi-line design which is slightly reminescent of mazes/fingerprints. It's not designed to create functional mazes, but it is somewhat capable!

"Absinthelyric Print" is an anagram for "Labyrinthine Script".

*

Original size: 11.25pt. Use multiples of this value for pixel perfection. (If you use antialiasing, it will look perfect at most any size.)

*

Design rules:

1. Square bricks and 90-degree angles only.

2. Alphabetic glyphs must have open terminals; numerals and symbols must have closed terminals. Letters which do not terminate (D,O, etc.) must be broken so that they terminate.

3. Glyphs must fill the 15x15 grid.

4. Ligatures and combinatorial glyphs must fit into one letter's space.

5. Draw from the outside in.

Version 1.3: Added Polish.

* $ * £ * ¢ * ¥ * $ * £ * ¢ * ¥ * $ * £ * ¢ * ¥ * $ * £ * ¢ * ¥ * $ * £ * ¢ * ¥ 

Another simple experiment with composites, this time trying to make a font which can easily accomplish a "diamond encrusted" or "disco floor" style effect within my graphics software.

SPOILER: I succeeded. :D

* $ * £ * ¢ * ¥ * $ * £ * ¢ * ¥ * $ * £ * ¢ * ¥ * $ * £ * ¢ * ¥ * $ * £ * ¢ * ¥ 

Going for an industrial sci-fi look. The hard angles give these letters the appearance of being made by some kind of tape or roller.

This font was originally designed to be uppercase only. So, the lowercase might be considered as an alternate set.

Original size: 24pt (24pt, 48pt, etc. look most crisp when not using antialiasing)

An angular font with built-in ligatures for <f> and <j>. More punctuation and international support (hopefully) coming soon.