Isometric 3D outline style typeface.

The glyph have a exact copy slighly elevated and to the right of its original which I then connected with eachother to create the box-like three-dimensional idea.

Because of some serious design difficulties it remains far from complete, but I am kind of done with it for now due to this. For now only support for uppercase, no numerals and very limited punctuations. I think I fully kerned it, or at least everything that is important. On last thing I need to mention, the smallest open spaces doesn't allow this font to work in very small size. These will look filled at smaller point size.

I'm not sure if I will ever try another attempt to finish it at a later stage. (who will tell..) ;)

But I think what I've got so far is too cool for not publishing it. So for now it would do just fine as a logotype or for a decorative usage but not much else.

Enjoy!

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...

What started as a octagonal experiment turned into a Sci-fi, futuristic giant

Highly experemental, quite illigible font, done only to see if it can be done.

Everything can now be outlined with these new awesome bricks, maybe even the classic FS logo needs to be updated now that Fontstructor is more powerful :)

I produced this typeface as a part of a UWE project. I started by exporing the word dangerous, where I moved onto the topic of fear. This lead me to a fear of heights and ultimately glass and the way it smashes. This broken glass typeface is shattered as if hit directly and smashed into shape. I wanted it to look more unorganised so the smash seemed more natural. I didn't want the pieces to fit the shape of the letter form but I also didn't want you to be unable to read the letter so I felt like this was a good middle ground between the two. This typeface is to be used as a title font rather than text font. 

Inspired by Oneliner. Uppercase F/L/T/Y can be used for kerning pairs like FA/LT/TA/YA.

I started this typeface out with the letter 'a', and from there slowly build up the other glyphs and came to realise it looks like a festive type. It's most likely due to the terminals being very angular and sharp, and that thought strengthens ever more so after I tried using it in Adobe Illustrator.

Inspired by Frodo7's Voxelstorm. Some of these shapes look impossible, but they are actually possible, if you imagine that the corner of each cube is touching the centre of the face of another cube.

Inspired on the credits of an old movie. 

Solace in Geometry.

   Press the spacebar (space glyph) before write your line of text for a good initial view, please. Thanks. 

Grotesque vintage sans in all caps.

A back-to-basics, Bauhaus-ey, geometric sans serif. Some of the shapes (G and S) are a bit unconventional due to the small grid, but I think they are fairly legible.

This started elegantly thin with rounded corners and the name 'memoire', but it developed some electric sharpness through parallel angled lines ;) demanding that I remove curved corners. Work in progress, one of these days I'll add Polish or very basic Greek glyphs .