This is something I've doodled on for a while. I'd like to incorporate shapes other than triangles and rectangles into this but I'm just too busy with other projects. Feel free to continue it, make it better, or whatever.
I had help from BWM for suggestions to improve a lot of the glyphs. Thanks, man!
Version 1.1: Improved several letters and numerals.
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Structurally, this is sort of like a fusion of Ghost Town & Lasagna Cowboy.
A design that combines decolike asymmetry with a double line concept. It also incorporates some experimental methods to unify the wider glyphs (mw@#™, etc.) with the others, by allowing the middle sections of these letters to have both the single and double lines. This results in a look that is at times architectural and at other times almost like loopy cursive.
A font which uses some custom macaroni bricks. This one has the same kind of structural asymmetry as Phenomenologist. Angles and corners on the left are almost always sharper than those on the right, which gives glyphs a structural asymmetry as well as a sense of rightward momentum. This technique also imparts variation to some otherwise very similar letterforms (bdpq, mw, sz).
This is named for a species of android from Doctor Who.
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Other design decisions:
- Make the ascender height shorter than the uppercase
- Use squares for dots/diaresis and circles for punctuation, so that they are more quickly distinguished
- Allow the sharp curve and gentle curve to swap positions when it's beneficial to the glyph (BX8&)
- Incorporate angled lines into several glyphs so that none of the glyphs which have them seem out of place (SZsz012569*~$)
- Ignore the other design decisions for glyphs which need a standardized look due to their use in programming and other syntax-based forms of writing (most symbols & punctuation)
Iteration 4: Basic Latin kerning finished.
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DOODLE DOODLE DOODLE!
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Design Rules:
1. Letters with spurs will have the spur begin at the baseline. This provides the distinctive "high heeled" look.
2. Any letter whose traditional design has a straight vertical line on its left side will keep the line, no matter how the lines of the actual letter travel.
My attempt to do something different with Structurosa.
With such a small grid and such a distinctive look, it was hard to alter the concept without turning it into something else. The fact that I didn't bother looking at any references save for the FS logo itself probably didn't help. Out of all my experiments, I thought this one looked the best and most original, so here it is.
Experimental cloud flower doodle thing.
While this looks bizarre, it creates some unique effects. It is also visible at FAR smaller sizes than any other font I have seen. Check out the Pixel view to see. Interestingly, this superb readability is lost once the font is enlarged from this size.
I haven't figured out what to do with the numerals yet, and only put the placeholders there so I could get a better preview on my page.
Mechanical Horse resembles the engravings which might be found on a mechanical horse such as the one from Vampire Hunter D. What qualifies me to say this? Well, I watched Vampire Hunter D a couple of times and have been speculating wildly for decades, which is more than enough time to get good at it.
Please exercise caution when handling Mechanical Horse. Its edges can be pointy.
An experimental take on Laconica with Celtic knotwork. I'm not sure how to balance it better than this... any ideas? I'll do all the glyphs once I have a complete set of solutions for them.
This is a clone of LaconicaA quirky Pseudostencil design with a central horizontal slot going through it. The "slot" is 1 brick tall for lowercase and 2 for uppercase, and becomes a vertical slot for numerals and certain symbols.
This is named for the cowboy and lasagna emojis. These were repeatedly added to then removed from several popular chat clients and websites. Changing emoji standardization or government conspiracy? YOU DECIDE.
A serif font wherein almost every glyph has serifs and the serifs determine a glyph's shape. All lines that are not serifs or forming a vertex with a serif are isolated. This is a different technique than I used for Lonewolves Guild and Nurvusystem.
This is a borderline IVO design, not because of its appearance, but because it requires the same set of visual considerations to interpret.
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 0.2: Improved all glyphs, added More Latin, changed name to "Letsago".
TODO: Make line widths more consistent, especially on numerals.
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A friendly, but slightly obtuse font. I think these polygons are the smallest and simplest ones which can be made with stock FS bricks and used to create glyphs with a truly circular appearance. This only works up to a certain size before the look reverts to that of a polygonal sans-serif, but it works very well up to that point!
This is the culmination of knowledge gained from several other experiments, such as Marginalia. It should be very difficult to make a smoother font from this at the same grid size while still using stock FS bricks.
Some kerning is done, but the majority of it will be done once every glyph is considered to be perfected. For now, you can use vector software (like Inkscape) to manually kern pairs.