A display typeface (probably best viewed small, I'm aware!) based upon some physical type I made from dark food colouring etched into sugar syrup. This was to represent the brief theme I picked of 'unstable', hence why all the characters are completely induvidual in size and shape. I have also published a second version which displays what happens when the food colouring bled into the sugar syrup. 

This font draft was created with the theme of massive, I wanted to create something that looked physically imposing and noticeable. To create the structure, I looked at buildings and cityscapes around the busiest parts of Bristol City and wanted to play with perspective as if the viewer was standing beneath a building and looking up at it, I ended up making a font that reflected the uniformity and scale of buildings.

My second entry for the Serifcomp. I hope you like it and if you do please favorite/vote/comment or something

  Eclectic font. You can even make a led T-shirt for a party. Cyrillic caps while remaining eclectic refers to its Soviet past. 

See more: Dalliance

https://fontstruct.com/fontstructions/show/987964/grand_hyperion

https://fontstruct.com/fontstructions/show/305748/fs_burtonesque

https://fontstruct.com/fontstructions/show/1123407/medieval_robots

https://www.fonts.com/font/linotype/devinne/ornamental-regular 

Topo was originally inspired by the theme Filthy. The idea of compact lines came from looking at the shapes chewed into chewing gum pieces which are wrongly discarded on the floor. Using topographic maps I created the lines for each letter respectively hence the naming of the font. 

Desk bound is inspired by the shape of paperclips. The theme for this idea is ‘systematic’, my initial interpretation of this was something heavy and solid, to represent machinery/construction, based on industrial systems. The idea behind the paperclips comes from the notion that every ‘system’, in a broader sense of the word, requires careful planning and organisation. The physical form of the letters is intended to appear both soft and geometric, making use of the rounded rectangular shape of the paperclips to communicate this and remain consistent, reflecting back on the original ‘systematic’ theme whilst looking lighthearted and playful.

This is not just another tile set that simply uses a wider variety of brick in each glyph. I added "twists". I wonder how long before someone notices ;)

I had dreamed something like this in FS...

every glyph is made from an original rectangle.

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.

I saw the logo for tramplin.tv [pictured below] a loooong time ago and was fascinated by it. It used to live on my computer desktop so I can look at it frequently. Even thought to redo it in fontstruct but...just looking at it, it was clear it wasn't doable...at least back then. At some point, the image was moved off to some other to-be-filed folder, and eventually I forgot about it.

I found it again the other day while hunting for some other file.

It was still fascinating. And in the meantime, fontstruct had grown up considerably (Thanks, Rob!). It was time to attempt doing it.

Well, kicked my ass, didn't it.

It seems so simple: One diagonal that goes from one letter to another in smooth transition, bisected by a different angle diagonals. No. Easy in concept, killer in making the geometry work of 2×1 diagonals to 1×4 diagonals.

No matter what thickness of diagonals were selected and whatever the gaps were left, the angles would not line up at some point or another. Which was confusing as 2 goes into 4 exactly 2 times, so things should have lined up without complication. I remembered, many years ago kix used Transparent Windows utility to make the browser transparent so he could trace silhouetted figures for one of his brilliant fs. Even tried tracing. Nope. After many failed attempts, had to break out Illustrator to better visualize the grid and diagonal guides of my own.

[See picture below]

Figuring out the geometry was much simpler in Ai. Found out where I was going wrong. First attempt at doing a and m and making them line up worked like a charm. From then on, it was just a matter of doing the glyphs. Some of them were simple to execute; others like e and c and especially z were quite difficult...at least for my limited intelligence.

Anyway, here it is.

Disclaimer: The original logo is probably copyrighted to someone. I don't own the rights to it. It is displayed here for comparision purposes and for full disclosure. If the owners of the original logo have a objection for its display here, it will be removed immediately.

A way to create thin lines in a small grid. Needs further development ;-) For architaraz

This font was inspired by the works of Christophe Szpajdel (Lord of the Logos, 2010, Die Gestalten Verlag), as well as by the film trilogy and the following game titles (e.g. Middle-earth: Shadows of Mordor, Warner Bros. Interactive Entertainment, 2014) based on Tolkien's epic masterpiece, The Lord of the Rings. Given the game theme, and the 48 bricks vertical limit, I thought more or less around pixel art, or pixel fonts. This is my endeavour to make a spiky blackletter in Szpajdel's black metal style that evokes the terror of Mordor at pixel level. This font has been extensively tested for best kerning, yet some issues might have remained unresolved.