By request, a semimodular font which looks like a casual interpretation of "General Failure". This is also more condensed and more Pixel Optimized than its predecessor. It makes me think "fire station in a cartoon".
It uses a technique which folds some slabs in, which prevents slabs from altering the heights of letters - but slabs are still allowed to alter width to some extent. The slabs which do this are incorporated into glyphs' structures to such an extent that they are integral parts of the linework.
This could be kerned more closely, but like me, the requestor uses software which doesn't support kerning. Consider the spacing as part of the desired quirkiness.
An experiment which attempts to harmonize soft curves and straight lines while eschewing angles. The result is this "inkflow" design. What is the opposite of an inktrap? I don't know, so I'm calling it inkflow.
This could also be viewed as a hybridization of neon-style lettering and normal sans serif... it is not quite made to be either one, but could act as a decent companion font to them. Most neon fonts need a larger size and are thus more suited to headers, while this design is well suited to body text.
This could also ALSO be considered a Hybrid because it works as both a pixel font and a high-res one.
A font made to be very economical.
This design uses as few unique shapes as possible. In addition to extensive rotations and flips (see AR, EMW, FL, GJUV, IHKT, NSZ25), glyphs are made so that they can be cut down to make other glyphs in as few cuts as possible (see BEI, used to make ACDFLMNOPRSWYZ1235689). Some other glyphs (see QX.,) then make use of the cut parts.
This means that, were these letters to be physically made, the maker would only need a few forms to start with and could cut the rest in only a few steps.
The name was chosen because of both a running joke between friends and because it was the coolest-looking phrase I tried when I auditioned the font.
Version History:
1.3: Added more symbols.
1.2: Added Dutch and German.
1.1: Q* were corrected.
1.0: Initial release.
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Font used for rAIn, shipboard AI of the RGS-1 Rainbow Loop. This will also likely be used in FLAK materials, as well.
Version 1.1: Began changing the counter shapes of all glyphs in order to enhance the font's appearance.
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Experimental doodle. The idea here was to make letters, ascenders/descenders, and diacritics obey the same ratios. The result looks sci-fi and sporty at the same time... a bit strange, but also a bit useful!
By request, a small, sporty, polygonal, uppercase serif font. The name is inspired by Hammer from Castlevania: Aria of Sorrow. This is quirky, strong, and from nowhere - just like Hammer.
This design seems best for signage, woodcuts, and the like. It carries a bit of a "sports" look too. The numerals and symbols are sans serif to make them look more modern. The asterisk is a hammer. Is it Hammer's hammer or Hammer's brother (who is a hammered Hammer Brother)'s hammer? No one knows.
Another mirror font! I made it in a square style so it would mirror more neatly. This also had the consequence of giving the font a "runic" look.
Looks best at Pixel sizes, but works with any size!
The name "Mirror Mang" comes from two things: the Captain Beefheart And The Magic Band song "Mirror Man" as well as the way my friends from New Zealand say "man".
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Original size: 7pt (use multiples of this size for pixel perfection)
See also: Glassmakers Guild, Heraldic Emblems
By request, a "waffle stencil".
This is an E6x6 broken into nine 2x2 fields. The larger and the more precisely cut it is, the more readable it becomes!
By request, a polygonal font with a slightly militaristic feeling.
The truncated polygonal perimeter of most glyphs is somewhat inspired by the lettering on World War I planes, tanks, and ships. These forms of lettering tended to have more square aspect ratios. I changed that to give this font more personality and to condense it so more text could fit on a line.
In terms of what modern military setting this might fit into, it looks very Air Force- or Navy-esque to my eye. Check out contemporary video games and recruitment materials relating to those two branches and you'll see what I mean.
A design that combines tropes from fantasy, sci-fi, and sports in a subtle and pixel-optimized way.
Structurally, this looks like a high-res version of Marengi Mk2. There are still plenty of differences between the two, but since they seem equally readable to me, I'm tagging this as a chat font.
Version 1.1: KRX were modified to be more readable at small size, MQW14'"@ were edited for style, Basic Latin band completed, More Latin band underway.
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A font made by request for an author of custom Warhammer 40K modules.
The Zephiest of designs - a gaggle of Roman columns with gongs stacked on them.
A font made to the height of the visible field when the FontStructor is zoomed all the way out on my screen. I've always wanted to make something that vaguely pushed one of FS' limits - in this case, the height of the field which I can observe without scrolling.
Well, I could've made this even taller, but I wanted it to be somewhat useable at least. :D
This was originally a pixel design, but then I changed my mind and converted it to high-res. That gave it a more architectural look.
A slightly chimeric sci-fi design with no relation to Space Blam, Space Clam, Space Cram, Space Dam, Space Fam, Space Flam, Space Gram, Space Ham, Space Jam, Space Kazaam, Space Ma'am, Space Pram, Space Ram, Space Sam, Space Slam, Space Spam, Space Tram, or Space Yam.
In making this I attempted to achieve a harmony between angles and curves. You can see it especially well on "B", "3", "8", and "&".
By request, "a font that looks like a hybrid of Greek and Latin".
This is designed to be modular. UPPER CASE contains the standard glyphs. Alternates are on the lowercase as well as the More Latin band.
"Novus Graecorum" means "The New Greek".
Supports Dutch, English, and Greek!