Gob Pixi is an amalgamation of different experiments with colour, display type and visual effects throughout the years of working with a comfortable, personal design palette.

Having been obsessed with grain textures and primary + secondary colours throughout the start of 2020s, I was moved to translate that into typography after seeing Kilotype's Lofi Forest "fizzy-fying" an otherwise sharp-looking Roman/Serif.

Also, I have worked on a type project that got me to layer different coloured shadows and highlights above each other, so this is my attempt at translating that effect onto another typeface that I've shelved for quite a while now. (I happened to come up with something similar to Get Yourself Connected by chance and didn't know what to make do with it.)

Another mondrian-esque, colourful and minimalist font. Unicase with alternates.

Lessons in Composition, Vol. 1

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Less of a typeface and more of a concept, Lessons in Composition, Vol. 1 (LC,V.1) was a fun experiment with a compossion based typeface and negative space. Strictly geometric, each character in LC,V.1 is made out of rectangles, circles, curves, and the subtraction of these shapes.

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Notes:

LC,V.1 is set in #f90000 (red) and #2a2a2a (slightly off black). All of the white space is transparent. 

What if Bank Gothic tried to dress up as Copperplate Gothic for Halloween?

A thin, simple, tricolour font, smooth and pleasant. The "ff" and "tt" ligatures are included in the "fi" and "fl" glyphs and an extra "s" is in the "™" too. Some kerning is still needed.

a bauhaus adjacent font with a bauhaus adjacent name

Pencil shaped letters. That edgy transition of color should be a gradient, but it works for now. A ColorComp submission.

A neon-signs-inspired chromatic fontstruction for the Color Competition.

Let's toggle letters. Uppercase are off, lowercase are on.

Playing with pattern capitals. Some alternates in the lowercase. Best viewed in large format.

A blackletter-inspired unicase design. I'm thinking this will look good on certificates, diplomas and all sorts of official documents where readability is secondary. I've got some spacing adjustments to make in the punctuation.

This is my little contribution to the fantastic recovering universe
called LETTERS OP MAAT by the great @Sed4tives about the typographic world of the dutch artist and typographer Jurriaan Schrofer. Btw, I sincerely apologize to @Sed4tives for the undue delay and the time it took to publish this exciting addition to his magnificent series (I'm sure he thought I'd forgotten, didn't he, comp4ñero?). Hope you like and enjoy these two fonts in one.

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GUIDE TO FIND GLYPHS:

- Curved left unicase: A to Z + Ç, Ñ, Æ, Œ.

- Curved right unicase: a to z + ç, ñ, æ, œ.

- Curved left numbers: 0 to 9.

- Curved right numbers: for 0 type %, 1=<, 2= =, 3=>, 4=[, 5=], 6={, 7=|, 8=}, 9=^.

- Other curved left glyphs like ., , , ”, ’, ', ?, !, @, $, &, (, ) and -: in their own glyphs, plus :=/.

- Other curved right glyphs: ”=“, ’=‘, '=", @=*, &=#, -=+, .=:, ,=;, $=`,:=\, ?=¿, !=¡, (=_, )=~...

... The work still in progress (diacritics in the oven)...

An earlier (1926) constructed alphabet from Jan Tschichold, based on a somewhat finer grid and a slightly less condensed uppercase and a bolder appearance overall.

With a caps-height of 17, reproducing some diagonals proved quickly to be between nightmarish and impossible, thus the fidelity is a bit less exact than my previous recreation.

For a digitisation that encompass both designs and offers proper alternates, you can look at Peter Wiegel’s Tschichold.

Unicase with alternates. I was trying a monospaced font, but...

Happy 17th BD, FontStruct!

Based on old vector display text, mainly on what's seen in The Andromeda Strain (1971). Alternative D/K/V in the uppercase.

While I'm still in a Fontstruct mode, here's a color font derived from Dmitriy's Paris poster suggestion. Usunus (ұсыныс, reads as ooosoonoos) means suggestion. WIP.

Thanks to Sed4tives for STF_FAUX BEZIER ROTUNDS

This project was stuck in font purgatory for over two years due to some frustrating issues with consistency. Finally revisited and finalized, here is a simple thin inline deco font, had some fun with the flip-flopped "B" as the "g." Please enjoy~

A quick modular font based on McLaren's 2025 F1 livery numerals. Still needs some refinement and an expansion of the character set.

Pipe style font that's been started a year ago along with KD Kubr. Finally got myslef into finishing main letters. Still in progress so you might see some errors here and there.

Inspired from Tom Hultgren's Traffic but with two layers of color, 45 degree cut.

Newt is a spinoff from Salamander but reduced to a 2x2 grid system. Originally planned for 2023's iteration of 36 Days of Type, but later scrapped due to time constraints.

Available to download for free as part of a font bundle over here.

Tall Modern Western Style font. Three extra glyphs "M", "N" and "Ñ" are placed at the ligatures "fi" and "fl" and the "™" sign. (Btw, this font started with a dreamed letter "R".)

Opening day of Marvel's Captain America: New World Order movie! 

It's been so long since I've worked on a fontstruction, I forgot how to stack composite bricks. It's like going back to the gym after a long break and I can't do any heavy lifting and I'll be sore from it tomorrow.

This design is very retro Cap. The fill is a throwback to the original Captain America's comic book chain mail suit material. 

WOLKENKRABBERS — Condensed streamline Art Deco style lettering
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Enjoy!

This turned into a whole series when all I was trying to do was simple 3×3 oversized pixel font. One tiny modification to try and fit some glyph into the established structure led other glyphs to conform to the modification. As a general practice, every time I make a modification to a completed glyph, I make a copy of it first. When enough glyphs were conformed to a/the modification, I moved them off to a clone.*

While working on the clone, some new tiny modification would generate glyphs that were similar but enough different that it warranted it's own clone. And so on...so much that the naming scheme had to be changed a few times as well.

And the series is not even all that good. But once an idea hits...and the FontStruction is easy to do... it might as well be "completed".  There are 9 versions of tmADHDs at varying states of completion at the time of first sharing.

*​​This is an over-simplification of the process. What actually happened was that the first iteration ended up with what looked like three similar-yet-distinct styles so I made two clones of the first and deleted glyphs of the first style from the second and moved glyphs to uppercase of the ones that seemed to belong to the second style and added new glyphs to flesh out the style. Did the same for the third. Lots of back and forth between the three iterations to ensure none were left behind or inadvertently deleted. Still there were enough individual glyphs left that I didn't know what to do with. Then I created a fourth clone and moved the left-overs to it. Which later turned to fifth and sixth clone. At some point the thought occurred that tmADHD2 doesn't need to be as wide so it became tmADHD2a and the narrower iteration became tmADHD2b. And so on.

a venture into neon art deco, inspired by tortoiseshell's "night lyfe" (hence the name~)

Caps only. Inspired by the cool font "Chwast Art Tone" -or simply "Artone"- (1968, by the legendary master of design Seymour Chwast), "Inkwell" (1992, Sam Wang) and "Dogsmoke" (2019, Humberto Gillan), and recalling the feelings of those unforgettable momments from the "Saturday Night Fever" times. Tony Manero lives! Thanks a lot to @Dmitiy Sychiov for designing these beautiful Cyrillic glyphs.

This italic was more difficult to build than I espected (especially the glyphs K, M, S, X, g, k, x, 2, 5, 6, 8, ß and a few others). There are still shapes that are very hard to achieve using the current FontStruct's tools... but nothing is completely impossible if you dedicate the time to it, the results are often surprising. So it also took me much more time to complete the entire character set, but I'm happy about the final aspect of the font: it looks curiously forceful, positive and fresh at the same time, and I like it, despite not being 100% happy with some glyphs. Kerning isn't finished. Suggestions are welcome, folks. This is my 2024 font for Xmas: Happy holidays to you and yours, dear Rob Meek and all the FontStructors wherever you are!