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)
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.)
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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.
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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.
WEAR GLOVES when handling this font.
This is a clone of Prickly PearAlternate plain version of Funkytown Throwdown. The spacing has been reworked for this one.
This is a clone of Funkytown ThrowdownA font which uses some custom macaroni bricks. This one has the same kind of structural asymmetry as Phenomenologist. Angles and corners on the left are almost always sharper than those on the right, which gives glyphs a structural asymmetry as well as a sense of rightward momentum. This technique also imparts variation to some otherwise very similar letterforms (bdpq, mw, sz).
This is named for a species of android from Doctor Who.
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Other design decisions:
- Make the ascender height shorter than the uppercase
- Use squares for dots/diaresis and circles for punctuation, so that they are more quickly distinguished
- Allow the sharp curve and gentle curve to swap positions when it's beneficial to the glyph (BX8&)
- Incorporate angled lines into several glyphs so that none of the glyphs which have them seem out of place (SZsz012569*~$)
- Ignore the other design decisions for glyphs which need a standardized look due to their use in programming and other syntax-based forms of writing (most symbols & punctuation)
The final Laconica?
This idea emerged while making Laconica Skeleton, so I decided to carry it out. The design reminds me of blueprints and floor plans, thus the name.
This is a clone of Laconica SkeletonVersion 1.1
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An alternate take of Diamond Eyes with circles replacing the 2 smallest diamonds. No brickswapping used - many diamonds shared bricks so I had to place the circles by hand. This permutation introduces more texture, solidity, and complexity to the original. Hope ya like it!
This is a clone of Diamond EyesExperimental cloud flower doodle thing.
While this looks bizarre, it creates some unique effects. It is also visible at FAR smaller sizes than any other font I have seen. Check out the Pixel view to see. Interestingly, this superb readability is lost once the font is enlarged from this size.
I haven't figured out what to do with the numerals yet, and only put the placeholders there so I could get a better preview on my page.
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.
A tall condensed pixel design with simplified geometry. It's the same kind of geometry I use for speedreading-optimized designs, but whereas those designs only have key elements altered for speedreading, this one alters every glyph.
This was made for a friend who does CNC engraving. His setup is so good, it can engrave pixel fonts - or predict the lines' geometry well enough to smooth out the pixel shapes into high-resolution ones. Now we want to see what this turns into!
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See also:Dynastium
My attempt to do something different with Structurosa.
With such a small grid and such a distinctive look, it was hard to alter the concept without turning it into something else. The fact that I didn't bother looking at any references save for the FS logo itself probably didn't help. Out of all my experiments, I thought this one looked the best and most original, so here it is.
Verbossus in sans-serif!
This is a clone of VerbossusParadoxy Effect, now with more dots.
This is a clone of Paradoxy EffectAn alternative chatfont designed for lazy people who sit way back in their chairs and view LCD screens at non-optimal angles... like me!
This is made with two simple but highly effective techniques:
1. Not letting protuding lines go all the way to the edge of the glyph.
2. Drawing so that outline, rather than linework, determines the shapes of glyphs.
By request. This is the Shepard Tone of fonts - constantly rising and falling. Best viewed at around 2x Pixel size.
I was initially going to do a lowercase for this, but then the requestor changed their mind. So this being published as-is.
This is your medicine. YOUR medicine! So if you don't like the taste, maybe don't drink it.