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Wip
See more:
https://fontstruct.com/fontstructions/show/1706997/general-public-2
https://fontstruct.com/fontstructions/show/1697288/silverhand
https://fontstruct.com/fontstructions/show/2081881/devianttype-1
https://fontstruct.com/fontstructions/show/2102156/blast-9-3
This is a clone of Drum and Bass LDRCLICK ON THE “PIXEL” BUTTON TO MAKE IT LOOK, LIKE, A BAJILLION TIMES BETTER.
INTENDED LANGUAGE SUPPORT
• ENGLISH
• MĀORI
• SLOVENIAN
• RUSSIAN
THINGS THAT FONTSTRUCT NEEDS
• A DITHERING TOOL
• AN ELLIPSE TOOL
• RECTANGULAR- AND ELLIPTICAL-OUTLINE TOOLS.
• A BUCKET FILL TOOL
• RULERS
• A SKEWABLE GRID
• A MASS KERNING FEATURE (OR EVEN AUTOMATIC KERNING, THAT’D BE NICE)
• SUPPORT FOR MULTIPLE FAMILIES WITHIN ONE FILE
• A TERMINAL FOR PROGRAMMING ALGORITHMS TO AUTOMATE REPETITIVE, PREDICTABLE ASPECTS, AND A WAY TO REFERENCE THE GRID SQUARES AS AN ARRAY OF SOME KIND
DON’T THINK THAT I’M SHOUTING ABOUT THIS. I JUST DON’T LIKE LOWER-CASE LETTERS!
This is a clone of Some fonts you just can’t FontStructSome 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.
Experimental 24-segment display or massive monochrome Mondrian matrix. Pixel compatible!
The thinking behind this one was that with incongruously sized segments arranged in the proper way, I would create a design which was effectively 5x5, but which accomodated more glyphs than 5x5 usually does. Negative space is incorporated into the structure of many glyphs, though not enough to classify this as an IVO design.
"Qualtron" is the name of an imaginary entity that a friend believed in - a being meant to represent the result of "a mathematical equation that can rule the universe". I didn't inquire further about it... :D
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Design Rules:
1. Segments can have interior length/width of 2 or 5.
2. The central 2x2 square must always remain open.
3. Square bricks and 90-degree angles only.
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Original size: 20.75pt (use multiples of this value for pixel perfection)
EDIT: If you want a font REALLY based of the NSMB logos, check here.
https://fontstruct.com/fontstructions/show/1525766
Headliner is a geometric sans-serif with a slight nod to the New Super Mario Bros. logo fonts. It's overall design reflects posters. The Comic Sans effect (using a font in a place other where it's supposed to be used) has been eradicated as this font is multi-use.
I plan on making a light weight and extended version
Introducing Caprine 1.3! Now supports Cyrillic!
Caprine is based on roller graffiti you can see in virtually any urban area. The straight and rigid lines and angles, along with the thick drop shadows make the face a real crowd pleaser.
An experimental 3-D/geometric font, inspired by Mynameiscapo's "Metal Hammer [beta]". My first attempt was "InTrude"; I tried to make it look like it's coming right out of the screen or off of the page, but it wasn't what I was looking for. After retooling it, here is the result: it works! See all fonts: "Backtrude", "OneQuarterTrude", "OneQuarterTrude Inverse", "MidTrude", "ThreeQuarterTrude", "ThreeQuarterTrude Inverse", "ExTrude", "InTrude", and "FrontTrude"
Brush script, art deco, classic engraving, three genera of gothic (sans serif, blackletter, and ancient alphabet!), runic, hieroglyphic, and yet still some futuristic tendencies all informed me. But do they blend?
The handwritten quality of a broad-nibbed pen or skillfully wielded marker provides the binding agent. An emulsion of all these influences, it is at once all and none. Even the strict modularity begins to melt into the background. Yet so distinctly fontstruct...
This is a clone