a rounded unicase font...

i will add more letters soon

Friends, I'm asking for help! Which "R" do you prefer? The one with the straight, or curved leg? I'm split, because personally I much prefer the straight leg, but curved seems more consistent with the rest.

----------------

The term "sidereal" (/saɪˈdɪəriəl/) refers to a measurement of time based on the position of stars. 

Industrial, geometric, display, extended, modern, uniform weight. Based on a 2-brick tall grid. Inspired by Microgramma/Eurostile and the Terminator logotype. 

"Prototype" means that this is not the final verison. In this case, FontStruct has been used as a fantastic preliminary design tool. But due to its limitations, the font will have to be reworked. Not by much - only the ⅝ roundings will be made circular in a traditional font editor, I'll be introducing optical improvements, and real kerning will also be implemented. 

FontStruct's kerning tool is extremely rudimentary (understandable), and honestly, because of that, I left the kerning in a really messy state, it's kind of beyond repair at this point, as I don't really know what's what anymore. Oh, and also - due to limitations of the nudge tool, the ampersant (&) is offset to the right by half a brick, I tried to fix it with kerning as well, and it kinda works, but that will be fixed in the final version, outside FontStruct.

Pixxy 60-minutes-design – an hour of fun with Fontstruct as preparation for my lessons!

A tech-like font inspired (one more time) by some glyphs from Insider Bold, a work by the prolific Dmitriy Sychiov.

See more:

https://fontstruct.com/fontstructions/show/1604109/dojin

https://fontstruct.com/fontstructions/show/1511659/stf-a-s-c-communications

https://fontstruct.com/fontstructions/show/239418/volume_metric_lo

Work in progress …

Planning only to track down some bugs in the FontStructor, I was suddenly struck by similarities between the random shapes I was placing on the canvas and images I had stumbled upon recently on the web – I think it was in this article in the Guardian.

The images were of Peter Womersley’s modernist design for “High Sunderland”, fashion designer Bernat Klein’s erstwhile home, near Selkirk in Scotland. I wasn’t at first drawn to the modernism, but to the promised description of the experience of living in a house which was visually so open to the outside world – although ultimately the article wasn’t especially enlightening on that point. Later I found more extensive sources of images of the building on the web.

Working on this was the first time in quite a few years that I have been possessed by my own, earnest FontStructing rush. I was very pleased to find that the FontStructor tool still works as well and simply as it ever did – allowing for a uniquely swift and unimpeded creative progress through a set of modular glyphs.

The basic grid for each letter, based on the characteristic modules of the building, is topped by a slightly heavier bar and so slightly asymmetrical in the vertical, like the structure of High Sunderland itself, but it is essentially square and consists of six parallel horizontal bars.

In the FontStruction, the emphasis is on these crossbars – with every effort made to avoid partial horizontals and additional vertical lines, especially for the basic latin alphabet. The font is essentially unicase, with some variants in the lower case.

At one point I noticed that there are some window panels in High Sutherland which do have a single, thinner vertical divider (for sliding open presumably) so I used this for the middle legs of the M and W. After completing the initial FontStruction I also noticed in photographs of the building that there is at least one window with multiple vertical subdividers, so maybe that can form the basis for a new grid and a new FontStruction (High Sutherland B).

Things started to get fun for me when I got into the punctuation and accented letters. I saw no alternative to adding additional verticals for the hash, the percentage sign and some other glyphs.

I really like the percentage sign, although I’m not sure how legible it is – but I guess ultimately that it is an issue with the whole font.

When it came to glyphs with unavoidable diagonals – such as the slash glyphs – I went for a stepped approach, which I think is basically a good one, maintaining the emphasis on horizontal lines, and suggestive of musical notation – but the steps are a bit sloppy. I probably need to revisit them.

I’m not sure about applications for this FontStruction. Maybe it would be useful to someone intending to erect their own mid-modernist dwelling in the hills, or to someone planning to put up some new shelves!

A retro-futuristic font loosely inspired by the "Yellow Submarine" album cover by The Beatles.

See more:

https://fontstruct.com/fontstructions/show/383322/zaratustra_ooooo

https://www.fontstruct.com/fontstructions/show/1562369/candylander-plain

https://www.fontstruct.com/fontstructions/show/851715/dolphin_sans_3

https://www.fontstruct.com/fontstructions/show/1331355/circuit-thin-1

WIP

See more:

https://www.fontstruct.com/fontstructions/show/1549017/warner-brazils

https://www.fontstruct.com/fontstructions/show/1326545/elion-italic

https://www.fontstruct.com/fontstructions/show/987287/fs_gfo_3

https://www.fontstruct.com/fontstructors/1104892/sychoff/favorites?tagId=9&tag=Pixel&tagType=fave

https://www.fontstruct.com/fontstructions/show/32758/leiria_bold

https://www.fontstruct.com/fontstructions/show/209183/raphigraphy

a simple font

btw: some numbers look like letters on purpose

Do it: https://www.fontstruct.com/fontstructions/show/629119/ocd_disco_round

https://www.fontstruct.com/fontstructions/show/1682290/robospace-orbital

https://www.fontstruct.com/fontstructions/show/372247/ecdb_1

see more: https://www.fontstruct.com/fontstructions/show/239643/archityped

https://www.fontstruct.com/fontstructions/show/476462/autologo

https://www.fontstruct.com/fontstructions/show/1700886/hghghghgh-2-2

Mildly quirky serif font made for the signage/logos of a certain event. Limited character set.

A unicase experimental typeface. An evolution of some of my earlier work. Still very much a work in progress...

if there's interest, i will add more letters with diacritical signs or special letters...

maybe i will make a serif version of this...

an art deco version of "folletto"...

a connected version of "folletto fino"...

light version of "folletto grasso"...

a simple bold unicase font...

Pixel demake of Arizone Unicase. Same glyphs as the original.

A space-esque design made for a friend! The angular counters give this a simplified geometry which makes it easy to read despite its looks. Works well for small- or large-scale applications - chat, terminals, logos, and more. Supports Dutch, English, and Greek!

The original was cloned off and preserved elsewhere. The version you see here has centered glyphs.

Wanted to make something squarish and rounded, not too pointy.

A font inspired by the use of eggplants in video games. Many video games have unexpected eggplants in them. This is FontStruct's unexpected eggplant.

I decided to fill in the lowercase to add some variety. Hit SHIFT for shiny glyphs.

*

See also: Spellforged Servitor

Telos Unicase with overzealous antialiasing applied to it. It looks as if it were automatically antialiased by 16-bit hardware - a bit smudgy, almost pencil-shaded. Check it out at 2x Pixel size!

Despite its simple looks, this font is just about the densest thing I can create on a 5x5 grid without obfuscating the letters themselves.

While using this font I discovered some unforeseen uses for shaded styles such as this. Since the "antialiasing" occurs in only one shade and never overlaps or replaces solid pixels, it can be easily mass-selected. One can quickly and easily recolor sections of the font, convert it to the non-antialiased version, or clone the layer the translucent pixels are on and achieve more interesting effects.

A 5x5 Greek pixel font designed by request for a friend. This is going to be used in some amusing comics! Too bad I won't be able to read them. :D

(This also supports Dutch and English.)

Font from the ingame marquee display of Barcade Brawl, a 2015 game by yours truly. This was made to look similar to the system fonts from old arcade boards, PC microsystems, etc. You've probably seen the fonts I'm talking about; they're everywhere and many people refer to them singularly as "the arcade font" or "the NES font".

This is 7x7 with no wasted matrix, but it looks better without monospacing since not every glyph is the same width. It also makes a decent terminal & chat font, at least for those who don't care about the case of the messages they read and write.

Feel free to use this in your games, etc.!

*

Original size: 5.25pt (use multiples of this size for pixel perfection)

Experimental 5x3 font. This went through quite a few iterations! The result is surprisingly readable, but still not quite something I'd want to use as a chat font.

In making this I did my best to avoid compression and truncation, trying instead to use the interpretation of light as my guide. Many glyphs don't look much at all like what they represent, but as my eye glides over them, they make sense and I read them without issue.

A monospaced 3x5 font used in Vidora15 and later programmable electronic displays made by AMFA Cybernetics (formerly "ATMA Robotronics").

This font is made with AMFA encoding in mind. As such, the character set is very limited and there are no glyphs which require NKRO>1 or buckybits (Alt, Ctrl, Fn, Shift, Strg, option keys, etc). The glyphs normally present at these codepoints have been reverted so that any text displayed in this font is also effectively displayed in AMFA encoding. The encoding has 48 possible glyphs (including one which doubles as both "null" and "new line") so there are 96 glyphs in this font overall.

Hope this saves you some work, Feng! :^)

*

Since this exact font and encoding scheme were used in other devices and software, some of which were (or had) games, I'm also tagging this with Game Recreations.

*

Original size: 4pt (use multiples of this size for pixel perfection)

MIV: h6.24 @ 1x / m8.35 @ 1x