Custom bold, beveled and fixed width font for the homemade handheld console MAD×DOG by INSANUS
https://twitter.com/LupusInsanus/status/1145113251027542017

An alternate slightly taller "a" is on the "µ" and another "x" on the "\". Kerning of really obvious pairs will be done. I'm showing this only because it's a clone that automatically replaced the compos, stacks and standard bricks with the square brick.

A while ago I mentioned encountering the swapped bricks and weird (=51) brick quantity in another cloned version of this design. At first I felt frustrated but then I thought it might work out as a useable font. Without the surprising swap there'd be no Romaeo as a pixel design!! Now I think the glyph shapes look really good with pixellated edges, I'd not have worked a chunky Romaeo into a pixellated chunky Romaeo.  Proof that there might be unexplained and unwanted brick problems which don't deserve to be forgotten or deleted as the design can be used to develop a quite acceptable font.

Heavy font for heavy work. 

Made for Obscure Process, a zine about weird digital art techniques.

v0.9

Work in progress.

See more:

https://www.fontstruct.com/fontstructions/show/601669/fatty_41

https://www.fontstruct.com/fontstructions/show/91007/beatpixel_1

https://fontstruct.com/fontstructions/show/393460/zturdy_rnd_eye_fs

https://fontstruct.com/fontstructions/show/55474/stereo

https://fontstruct.com/fontstructions/show/1408712/abc-all-black-characters

https://fontstruct.com/fontstructions/show/13462/mikey

https://www.fontstruct.com/fontstructions/show/1657847/wpps

Squared fat retro sci-fi display typeface

A bold serif display typeface

My first fonstruction is based around the theme of malnutrition, but focuses on lesser acknowledged end of the spectrum, over-nutrition. I took inspiration from nature of skin and fat on overweight or obese bodies, putting emphasis on the folds and bulges you might typically see on the skin of a larger frame.

A fat outlined display typeface, ideal for poster design and such.

Trying a Courier style. The lowercase has a slightly bottom-heavy design, while the uppercase keeps it consistent. Serifs everywhere!

It fits into typewriter/detective type aesthetics as well as rustic and western ones.

This one is made for a friend. We'll see if they ever end up using it. :v

EDIT: It seems as if said friend is never going to make their webzine... so, feel free to do with this one as you wish.

Fett commands attention with its lavish uppercase letters. I had focused on creating an geometrical inverted slab serif incorporating features of Glyphic serifs. The distinguishing feature of Gylphic typefaces are the triangular shaped serif design, or a flaring of the character strokes where they terminate. Although Fett is not classified under either of those groups, I don’t think I wish it could be either- it shouldn’t be. Fett is meant to be very playful and tasteful. I named this font after its thick, fat stroke weight. Fett translates to “fat” in 3 different languages- German, Swedish, and Norwegian.

Indyga, a fresh new font from designer Lyle M.

Visit www.lylem.com for more info and font mockups.

Gerobak means "cart" or "wagon".

That's a font. I have not much to say here. So... enjoy!

This typeface was designed from using the word 'Squishy' as a starting point. Which i then went on to pinpointing it down to fat in particular looking at animal fat. I feel this font can be used in a large poster or sign, advertising or for promoting against animal cruelty. 

011616. Oops. This one was supposed to be released when it was created. Somehow it got lost. Anyway, it was an experiment with smoothed out diagonals, which was difficult before the brick nudging feature. Now it its easy. So more improvments added. Here was my original text in 2010.  Old links were broken, I can't add links anymore...? 

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Created from scratch, but inspired by will.i.ૐ's WPA Go Thin, which was inspired by Stewf's WPA Gothic. Not as much an in depth character study as William's, but delving deeper into the concept of smoothing out all hard edged corners, especially the transitional connections between all diagonal lines to their horizontal or vertical counterparts. This direction forced me to dig deep to figure out if it was possible to create a smoothly ramped curve. After chiseling out multitudinous variations of composite combinations, I came up with this solution. Then I pat myself of the back and gave myself a cookie. The technique is also employed on my Escapade, and Streamlyne fonts. As usual, I like to leave these techniques as Easter eggs for everyone to discover for themselves using their own creativity. Sometimes its inspiring just to know such a thing is possible. But let me know if you can't figure it out. Press Shift+PXL on the preview to zoom in and check it out.

x-height: 2⅜ bricks.