Version 2.6
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Inspired by a comment by jonrgrover.
I built diamonds sized according to the Fibonacci series, then made a segmented display out of them. The design was then carved away to make the glyphs you see here. I used the members 1, 2, 3, 5, and 8. These sizes proved most feasible to work with in this sort of arrangement.
I gave the terminals a flared appearance which I think makes the glyphs look slightly Celtic. The design also makes me think of beach sand and things found on the beach - shells, pretty rocks, and so on.
A chimera (fusion) which combines inline-versus-outline, maze, Gemscript, and other techniques to produce a timeless look.
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Original size: 6.75pt (use multiples of this value for pixel perfection)
Design Rules:
1. Square bricks only.
2. A 1px soft border of negative space must exist between lines whenever possible.
3. Glyphs must fill the 9x9 grid to the greatest extent possible given the rounded style.
4. The set of glyphs shall be a heterogeneous mix of symmetrical and asymmetrical forms.
5. Negative space will replace positive in any situation wherein the small grid size or the geometry of a letterform would be detrimental to the chosen style. This includes all situations where any shape lacks at least a soft 1px border of negative space around it.
See also: Terran Pixelcruiser
My first serious attempt at a font. Please leave comments and constructive criticism. My vision for this font is to be somewhat hard-to-read, futuristic, abstract, and modern.
By request, a "junk font". Looks pointy, glitchy, fuzzy, janky, grungy, burned, rusty, distressed by power tools, or some superposition of ONE OF THESE OR MORE, depending on the size used and the rendering effects (antialiasing, smoothing, etc).
Rather than force the letters into convincing classical forms, I focused on making sure each letter was thoroughly scrambled. This design could in theory be used with an image-recognition script in order to be put to cryptographic uses... the result would be fun, but not very efficient or crackproof. UC is the same as LC, at least for now.
The original brick-of-bricks is located on ".". This is the template from which the other glyphs were made.
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Design Rules:
1. Up to 25 distinct bricks from the palette may be used in the overall construction.
2. Each glyph will incorporate a heterogeneous mix of these bricks.
3. Bricks may not be flipped, rotated, stacked or composited.
a cyberpunk font with sharp corners. inspired from a variety of sources but mostly the vectorheart aesthetic (which the "vect" part of the name refers to) from the 2000s. the "ix" part refers to the 9-block height of the capital letters and numbers. you may use this font for anything as long as you credit me. vectix is the future, now is the time to embrace it.
The current month seems to hold a meaning of threads: of fog, dew covered spiders' webs, barely-there things, feint perceptions defying scientific understanding and fine links with ancestors, to keep us in the present and enable open minds and caring souls to better the future. This abstract interpretation of Halloween has been designed to echo the traditionally mysterious mood to show the past (known glyphs, earlier FS bricks) linked in the present (on paper, in the FS previews, and using some of Meek's newest bricks I experiment with in this design) to create future (text will carry meaning to the reader, diversity of thought not experienced until after every glyph is finished, and beauty of text flow is visible only after it has been written). Totally within my personal plan for Night Pegasus' work: adventurous, alternative, divergent, different, exploring, experimental, unusual -- after all, the flying horse is free to visit any time any item or existence in this universe and any place in Fontstruct, to discover and weigh possibilities, to create its future from the past in it's present body and mind, and it does this cloaked in black as deepest night, undiscovered unless someone has their feelers tuned into mystery and taps into experiences of presence.
:.:.:.: Information to help you when using this font :.:.:.:
If a LC glyph follows a UC glyph: you need to use the space bar 6X to get the correct letter space (it will then match the natural spacing between LC); using only LC glyphs (or only UC glyphs) will give satisfactory text results as letter space is set by the programming. But you'll need to manually add the word space you want: between UC (or LC) words a minimum of 3 space taps for a just visible gap, use the space bar 6x for good spacing. Experiment!
Note: the full stop and comma have a line on the baseline to link with UC. There might be no need for a 'space' after those two marks even on LC? The apostrophy has a short line to link it to previous/following UC glyphs (note those link lines retain the meaning of the glyph when used with LC glyphs or an LC following an UC glyph).
SPACE BAR = a 1px space; tap 3x to get a small word space that's obvious
% key = a set of reasonably wide lines to match upper case verticals
_underscore = a space consisting of a long single line on base line only
I'm trying to figure out some diacritics before the 31st so this remains WIP
Experimental mosaic... or maybe a new mineral species?
This one started as a doodle. I began placing circles to see what kinds of complex shapes I could make, and this was the result.
It achieves a new visual effect at almost every size up to the original. Also try slowly moving the zoom slider for some interesting animations!
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This font is now nearly 1MB in size! I guess it has to do with the intrinsic complexity of circles.
An original Art font that uses the tops, bottoms & sometimes middles of a font to communicate the character. This requires users to read texts as opposed to scanning them, but because visual cues are available it is still legible.
This font is Copyright 2018 & 2019 Doug Peters ( https://www.Doug-Peters.com/ or https://Dougs.Work/ ) and released as freeware under the SIL Open Font License. You are entitled to use this font however you want. Credit for my original work IS greatly appreciated.
Categories: Abstract, Art, Logotype, Poster/Display & Novelty
Type: Sans Serif Stencil
Weight: Heavy/Black
Web font: Yes
Commercial use: Any use, yes!
Derivatives: OK (please use a different reserved font name & update docs).
Redistribution: Encouraged
Fontstruct is this font's development home, though if development is occuring simultaneously, the available font may have a few errors as I work things out:
https://fontstruct.com/fonstructions/show/1509250
Short Link: https://w3n.us/blownoutdev
The official documented release font archive is on Font-Journal:
https://www.Font-Journal.com/fonts/13444/blown_out.php
Short Link: https://w3n.us/blownout
Submitted to Google Fonts April 10th, 2018:
https://github.com/google/fonts/issues/1528
Short Link: https://w3n.us/1528
P.S.:
Font-Journal:
https://www.Font-Journal.com
My best web hosting solution:
https://HDWebHosting.com
My branding & marketing Co.:
https://www.SymbioticDesign.com
PayPal donations (to encourage my continued freeware font design efforts):
https://paypal.me/sitedesigner
From various games written in my ESOS engine.
When Malil Ehnetahine wishes to speak, she calls up the wind to bring her Temper Tree leaves, which form the shapes of these letters.
This font is accurate to the ingame font and is finished.
While walking through Glitch Forest, you spot a sudden movement behind the Sprite Trees. It's [EVIL_ANGATONIST]! With a twisted smile, s/he/it converts your words into text written in this font. ZOUNDS! How will you get through summer school now?
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This was made to reproduce an amusing glitch found in MIDAS which caused insanely high ratings of 17.3×10^213 (17.3 septuagintillion). The glitch has since been fixed.