My final entry in the competition. Inspired by Mazey, zlabyrinths eYe/FS, and wavelength. Each glyph has its own maze, and each maze connects with the next. Tilde ~ and low line _ connect words, grave ` closes beginnings and ends, and the left and right arrows < > are for the start and end. There are also some alternates in Extended Latin A. Suggestions and critiques are welcome. Thanks!

UPDATES:
04/06/14 The whole font has been updated to be one brick taller, and thus properly fit onto a grid. Also, some characters have been redesigned. V2.0
05/13/14 All punctuation has been modified to continue a word maze. V2.1
07/05/14 1000 downloads! Hooray! As a 'thank you', I've completed more of More Latin. V2.2
08/22/14 I've made the accents part of the maze. I've also changed a few characters, and added Œ and œ. V2.3
08/04/15 Added Polish support with Ą, Ć, Ę, Ł, Ń, Ś, Ź, and Ż. Tweaked a few characters as well, and added a crossbar to the ð. V2.4

06/18/16 Added support for multiple languages with more Cyrillic chars and punctuation. Also tweaked a few chars.

This font is a free download, but some use is prohibited without contacting me first. Please abide by the readme which is included in the download! Thanks.

The Works Progress Administration (W.P.A.) was the largest agency of FDR's "New Deal", employing millions of people. Over 2,000 posters were produced by the W.P.A. to raise awareness and support the arts.

I have a lot of admiration for these posters and a style of sign painters' lettering (sometimes called “gas-pipe”) that was common in the U.S. during the 1930s-'40s. WPA Gothic gets much of its inspiration from this poster in particular. This FontStruction stays true to the sample’s simple letterforms, but the FontStruct grid does present a few limitations. For more refined typefaces in this style check out DDC Hardware, Futura Display, FF Golden Gate Gothic, Refrigerator, and MVB Solano Gothic by some of my favorite type designers, two of which (Parkinson and Van Bronkhorst) are East Bay natives.

WPA Gothic has a few alternate glyphs hanging out in the Extended Latin slots with more to come.

To get a look at the typeface outside the confines of the FontStruct sampler, here's a sample poster.

May 25, 2008: Released a variation with low-waisted "deco" caps.

2019: 10 year anniversary update! 
– Loosened the spacing a tad more.
– Added a few punctuation marks, including dashes, bullets, and inverted question/exclamation marks.
– Tightened ‘f’ spacing.
– Lengthened the quotes and apostrophes. They were so wee!
– And I fixed that Å! It’s not pretty, but it’s a ring.

Inspired by sound graphic interfaces and speakers. Full latin support

A display typeface (probably best viewed small, I'm aware!) based upon some physical type I made from dark food colouring etched into sugar syrup. This was to represent the brief theme I picked of 'unstable', hence why all the characters are completely induvidual in size and shape. I have also published a second version which displays what happens when the food colouring bled into the sugar syrup. 

What better way to celebrate our bright future than pushing a whole creative medium forward? Introducing Brick Patching – a combinatoric approach to constructing hyper-tunable curved and angular modular forms.

Stay tuned to this space; *eventually I will describe this highly useful hack and fully document the technique.

Upgrade your gray matter cuz one day it may matter.

My first fonstruction is based around the theme of malnutrition, but focuses on lesser acknowledged end of the spectrum, over-nutrition. I took inspiration from nature of skin and fat on overweight or obese bodies, putting emphasis on the folds and bulges you might typically see on the skin of a larger frame.

Lowercase "o" started it all.

A serif font made of dots. Suggestions are welcome.

UPDATES:
07/06/13-07/07/13 I went over the font and tidied it up. Adjusted spacing on letters like V and q, added or erased dots to letters such as a and f, made the tittles and such bigger, and refined letters like O and g. V1.2.0
10/01/13 More refining, more refining... Each time I come back, I see things that need improving. V1.3.0
12/19/13 My biggest update yet (literally). I've increased the circles' size from two to four units, making overshoots and much more possible. Every character has been reworked to fit the new size, and the font is now generally more condensed. V2.0
05/14/14 Tweaked many shapes with the nudge tool, and adjusted the 4 to have serifs and a lower crossbar. V2.1
05/17/14 Big edit today. A large portion of the lowercase, as well as some of the uppercase, has been narrowed to match the rest of the font.
05/21/14 M, N and accents updated a bit more.

09/27/18 Fixed the acute on ý (it was previously a grave).

Intertwined (impossible) letter O as a starting point for a yet another experiment. Emes is a word used to express negation in my language.

This font draft was created with the theme of massive, I wanted to create something that looked physically imposing and noticeable. To create the structure, I looked at buildings and cityscapes around the busiest parts of Bristol City and wanted to play with perspective as if the viewer was standing beneath a building and looking up at it, I ended up making a font that reflected the uniformity and scale of buildings.

I created this typeface around the theme of gregarious, focusing on gregarious plants. I started with drawing the letterforms in ink using a rolled up leaf. The results were twig-like marks which reminded me of the illustrations from 'A Monster Calls' so I developed the letters thinking how they could work alongside this or another story. The name 'This Wild Earth' is taken from the book and I think reflects the scratchy and bold feel of the typeface.

I once saw a Macula font's ad here in Fontsruct and wanted to try to make smth similar with Fontstructor, and so the draft has been laying around since February (see the image in comments). This work is based off that draft and is more or less consistent. The result is similar to Four's font Rock Paper Scissors (and maybe some other fonts). Thank you. 

Richter is a font inspired by the idea of instability. I initially looked at the idea of falling; the aftermath of an earthquake. However, the current design looks not at the aftermath of an earthquake, but at the aftermath of falling. The design is heavily inspired by breaking, smashing and the general consequences of an unstable object splitting apart.  

Topo was originally inspired by the theme Filthy. The idea of compact lines came from looking at the shapes chewed into chewing gum pieces which are wrongly discarded on the floor. Using topographic maps I created the lines for each letter respectively hence the naming of the font. 

Kitay means China. Idea was to find chinese characters that visually look similar to latin letters. Some who tried it used letters from existing fonts, or chose different characters.

I hope the final result is 乚幺厶工乃乚幺 enough ). Letters V,v though, still need to find a similar character...

Thanks & 廾开尸尸丫  下口冂丁与丁尺凵匸丁工门厶！

Gothixel Mono. A blackletter-style monospace font for small pixel sizes. One half of the Gothixel font family.

Gothixel Mono proudly supports Latin, Greek, Cyrillic, and Hebrew character sets. It also has a big inventory of characters with diacritics, including those necessary for Vietnamese and polytonic Greek.

Gothixel Mono's majuscules are one pixel wider than the minuscules, and the font's default tracking is on the wide side to accomodate this. You can tighten the tracking if desired, but in that case, all-caps text will run together. If you need appropriate space between all letters, I recommend Gothixel, the proportional-width font. However, Gothixel is further behind in development and doesn't have as many character sets yet.

This font family was originally named "Blackletter RPG".