I personally love that @ symbol

Agressive, violent, fat and edgy, meet F² Blok, the newest addition to the Futrey Fonts family!

Based on the A and X from PrestonBere's Scratch font: https://www.fontstruct.com/fontstructions/show/2073408/scratch-50

 This typeface is based on the hand-painted names seen on the side of canal boats. The inconsistent, grainy texture of each letter is meant to represent the irregularities in using paint, for example the general wear and tear from the elements like chipped or peeling edges. This was my approach to the idea of “analogue” and a brief set to explore what that means. To me, in the context of the brief, analogue could be defined as possessing a nostalgic or "old school" quality- something replicated in an unauthentic manner in order to create a look-alike imitation of a time gone by. I focused on the old method of transport in Bristol: boats.

A typeface that provides you with a glimpse into brickwork construction.

Monospace lowercase and duospace uppercase (double the width of lowercase), with negative-space diacritics.

Strong tensile and compressive strength (works well stretched, squeezed, and warped in general).

My first really big font!

Inspired by Sudoku.

A small, bold font on 2x2 filters using lots of nudging.

This is my first ever font using ideas to make an heavy sans-serif typeface. I was inspired by elmoyenique and Jamie Place (FontBlast). I'm not stealing ideas from anybody by the way, I've wanted to share something to explain a journey of making my own fonts in life.

I got some aspect of making the glyphs look heavier. I've tried to make the letter f, but it flawlessly has the same height as the other glyphs. If I make number four, than I've obviously make it like this because the slanted bricks are not enough to make up a four glyph. Some of the glyphs (for example: ð, ß, ™, ®) are hard to build it because it was considered to be rounded by its curve and too small if the text was heavier.

When I run out of name ideas, the only idea of this font name i've chose is Lourde (french word for heavy).

arcade/retro font

A MONOSPACE DEVIATION FROM ALDRON

I HAD TO DUMP THE LETTERFORMS INTO A NEW FILE (THAT WASN’T CLONED FROM ALDRON), BECAUSE THERE WAS NO WAY TO COMPLETELY REMOVE THE KERNING FOR THIS MONOSPACE FONT.

another attempt of a grotesk, varied widths/ "stretch font"

Perhaps it is lack of motivation, or running out of ideas, or over abundance of streaming services, or the creeping up of age, or just plain laziness, but making new fonts gets harder and harder each day. And finish. 

Font directly inspired by Cookielord's "Gargantua". That's why I thought of calling it "Pantagruel" (remembering the name of the other gluttonous giant, son of Gargantua, immortalized by the writer F. Rabelais), but it didn't start with z -hehehe :) - and I chose "zampatoo" (wich could mean something like "eat-it-all"). The final result has lost the rotund, forceful and fresh aspect of the original, but has retained some of its overall heaviness and massiveness. During the process it has also gained some curves. Risky font. Good for headlines, bad for body text. Extra "tt" ligature at the "fl" glyph. Hope you like it. Yummy, yummy... :D

Use ‘V’ and ‘W’ as initial forms of ‘v’ and ‘w’ respectively.

See more:

https://fontstruct.com/fontstructions/show/2140238/insider-4-1-5

https://fontstruct.com/fontstructions/show/2047252/the-razors-edge

https://fontstruct.com/fontstructions/show/480702/en_zelo

https://fontstruct.com/fontstructions/show/2066093/pointy-35

https://fontstruct.com/fontstructions/show/1680406/smotra

Font with an incision in each letter.

A font I made for a game I made once.

A fun, jagged and crazy display font!

The lowercase are alternates to the uppercase, so feel free to shuffle them as much as you like!

UPDATE: I changed the "U" and "V", and i made some numbers and simple punctuation. I also made the lowercase/alternates. All thanks to @frongile and @riccard0

loosely based on the pac man font

The heavy version of Capsaicin released back in 2020. Adding thickness wasn't that straightforward due to brick limitations. Alternate construction methods were implemented on the glyphs to create similar inktraps without sacrificing the innate qualities of the typeface.

I would like to continue working on it to make it more visually consistent, but I'll stop at this moment or else it might be a perpetual WIP.

heavy stencil font

A bold display font.

Let me know if I should make caps

The design process is typical in its atypicality (yes, it is a word, or, at least, should be!).

The atypicality necessitates the telling of the story behind it.

Looking for something to do...something easy to do, I came across the font shown 5th from the top in this article on Dieline. "I can do this," thought I. I did a 2 that looked similar. Based on that, did the 3. 5 6 9. 0 8. 1 7. "Hmm." Add the horizontal stripes. 7. 4? "No." Re-4? "No. Another 4? Perhaps thinner sides?" "Even thinner." "Hmm." Redo 1 2 3 5 6 7 8 9. "Maybe this is better. OK, lets do the letters." Start with Z because it is almost a 2 with minor curve tweak. Do the S. B because 3 is done. A. V. C. E. F L. J. Etc.

The glyphs so far have a 3 horizontal band appearance. Do the lowercase. a is two bands. b is two bands...but how high should the ascender be? Also, the x-height seems wrong. Off somehow. "Can I do a 2 band uppercase with the letter slightly taller. Maybe 2 bricks taller?"

Redo A. Redo B. "No this B is not working." Redo B. Redo B. Redo B. "Hmm. Maybe." Redo C D. Redo E F L. "OK, this might work." Redo to all uppercase letters.

Do the lowercase. "Yes I like the new f." Redo other letters to include the flip. Most of the letters are the same width. "Maybe I can make this a mono-space font." Redo m. Redo M. W. V. "The A looks odd." Redo A. And so on.

The font may have started as a simple thing but it is very different now. "I'll just publish it." "No, I should at least do the basic punctuations." "No this hyphen is too thick." Redo. "Now it is too thin." Redo. "Now it is too wide. But this is mono-space font. The width cannot be altered." +. "That just looks weird." Redo +. Now the - looks off. Redo -. Now they both don't fit with the rest of the font. Redo + -. "No. I'll come back to them." Do [. "No that's too heavy top and bottom." Redo [.  Do (. "This needs a different curve." Redo (. "Can I use this new curve somewhere else?" Redo @. "Hmm." Do ©. Do ®. Do ™. Do “. "I can't make this so wide." Do ‘. "Definately cannot make it mono-space." Redo all punctuation to be their natural width. "This is no longer a mono-space font. Should I redo M m W w to be more natural?" Redo do m. "No this is too much work. I can't be bothered anymore. Let the m's and w's be."

"The punctuation looks niiice. Should I do a font to match these?"

Create New FontStruction

An abnormal fatface that is also a bold headline font!

Unicase with alternates (a, e, m, n, u...). You can find also an extra "&" at the ™ glyph and a "c" at the ¢. Inspired on the wonderful Goliath (1970) by Vincent Pacella, but with its own personallity.

a bold sans serif with a compact look!

This is zimmera without scratches, more usable for general purposes. Thanks to @frongile for encouraging me to add it here. Hope you like it.