In the font preview window above, click Pixel and then Shift+Pixel 4 times to see the full effect of the font.

I remember from back when I was learning Japanese, that the stroke order in writing hiragana, katakana, and kanji was important. I didn't get very far in my Japanese studies, but even then some of the kanji were like 17 strokes each, and each with a specific order of marking the strokes. Thinking of what would be appropriate for a number competition, I recalled the number and order of strokes per glyph idea. Hence, this font. 

The idea brought with it an inherent text font sensibility. Deciding on the slope of the diagonal strokes was tricky as they rendered those letter either too wide or too narrow. The correct choice was a slope with a flat top or bottom. That allowed the width of the letter whatever I wanted but the flat top took away from the natural marking of the stroke, as in: no one actually writes an A with a horizontal top stroke. Settled on the current slope and width. Still, the letters came together fairly quickly; the kerning not so much. Whether they were adjusted or not, around 10,000 kerning pairs were checked. More than 2500 kerning pairs are included here...and many more still remain. How good or consistent the kerning is is for other's to judge.

Some of the glyphs are quirky, I know. There are already hundreds of thousands of exceptional standard text fonts. No point redoing those. 

Due to the need to show the strokes individually, the font came out as stencil. That was an unintentional byproduct of the idea.

Some strokes are split in two to show distinction between the crossing strokes, but technically they would be continuous. 

The strokes are based on my own handwriting style; others may do it differently. For example, when being careful, I write the Z in three strokes, whereas I suspect others probably write it in one. 

This is not a color font even though it is auto-charcterized as one because at one point I experimented with making the stroke-order numbers gray. I thought about copy-pasting the glyphs in a new FS, but the follow-up thought of having to redo the kerning quickly put a stop to that madness.

For best view of the font, download & install and check out some long block of text in Word with kerning turned on. (This articles explains how to activate kerning in Word.)

The NUMBERS were the origin: This font has been created from the design of glyphs 0, 2 and 4, which was then extrapolated to the rest of the characters. Unicase with alternates. Thanks @AidenFont for the vertical stripes idea.

Another handwriting script style font. Some suggestions for a better results: 1) You can put an additional bar (placed in the "<" and ">" glyphs) before typing a lowercase word. 2) And it's also convenient to add an extra space before writing a word with a capital letter to improve the separation between they. But you're the boss with it. Enjoy.

First try.

This design was created as part of the TwentiesComp. Too bad, due to lack of time, it was not finished.  I realize db Pontus still needs a bit of time and patience to be ready (glyphs, kernig etc...) However, I just want to introduce db Pontus in this context already ; ) 

Work in progress.

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!

My first fontstruction was inspired by Eastern Art at the Bristol Museum and Art Gallery. I loved the dragon decoration on the old ceramic pots in this section and have tried to portray a similar theme in my letters. (work in progress)

TYPE-O-NEG4TIVE ― Avant-Garde reverse-contrast inspired sans
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Experimental endeavor into avant-garde, reversed-contrast inspired letterforms.

I will explain the font in more detail bellow in the comment section.

Cheers

This font is a clone of "15 * 15dot-ariake".

こちらのフォントは"15*15dot-ariake"のクローン版です。

Additions and extensions of Latin characters, and Greek and Cyrillic characters are also included.

ラテン文字の追加・拡張、またギリシア文字やキリル文字を収録しています。

In addition, in the area to display Hangul
I wrote Braille in the sequence of Louis Braille's Braille Table.

おまけとして、ハングルを表示する領域に
点字をルイ・ブライユの点字表の並びで書きました。

Work in progress. If you have any suggestions, please feel free to leave a comment. :)

The culmination of 11 years of cinematic comic book bliss, alas, it is the opening day of the highly anticipated Avengers End Game. This is a tribute to almost all of the characters taking part in the most monumental achievement of interconnected storylines in the Marvel Cinematic Universe spanning 22 films. The list of pixellated heroes:
A: Antman
B: Black Panther
C: Captain America
D: Doctor Strange
F: Falcon
G: Gamora
H: Hulk
I: Iron Man 
M: Captain Marvel
N: Nick Fury
P: Spiderman (Peter Parker)
Q: StarLord (Peter Quill)
R: Rocket Racoon
S: Scarlet Witch
T: Thor
V: Vision
W: War Machine
b: Black Widow
d: Drax the Destroyer
g: Groot
h: Hawkeye
m: Mantis
n: Nebula
w: Winter Soldier
!: Hulk Smash again!
...maybe more to come...?

NO CAPS REQUIRED (with the exception of "I", which makes the sign for, "I love you"). Numbers 0-9 is also included.

NOTE: When using this font, double space every word.

Some of Zephram's first designs, 1 unique font in every glyph.

NOBUNTU (Pro) - Contemporary humanist sans style typeface.

Updated version of my previously published NOBUNTU font. This version includes much more characters, symbols, many ligatures, as well as language support for most Latin languages.

It is a medium weight, contemporary geometric gothic humanist sans-serif style design with rounded corners and smooth curves. All curves have a slight top & bottom overshoot. The basic Latin string, numerals and punctuation are fully kerned as well as the majority of important characters in the extended Latin string. But some still need a slight adjustment.

The basic idea was inspired by the gentle round corners seen in the Ubuntu and other similar fonts. (But don't make any mistakes, it is most definetly a different font)  ;)

So far I am very pleased with the clean and legible result.

Enjoy!

Gothica Medieval was inspired by a font called Horde.  That said, although the style is from Horde, this font is designed differently. 

Copyright 2019 Doug Peters (https://www.Doug-Peters.com or https://Dougs.Work) of Symbiotic Design (https://www.SymbioticDesign.com).

Type: Modern Gothic.
Classifications: Angled, Old Style, Medieval.
Weight: Regular.
Web font: Yes.
Commercial use: Yes.
Redistribution: Yes.
Derivatives: Yes (see license).

Donations are super-appreciated.  Credit for my contribution to this work IS also greatly appreciated. 

PayPal donations (to encourage my continued freeware font design efforts):
https://paypal.me/sitedesigner

P.S.:
Font-Journal (Freeware fonts for designers):
https://www.Font-Journal.com
Heavy Duty Web Hosting (Genuine cloud web hosting solution):
https://HDWebHosting.com
Domain Name registration:
https://www.DomainHostmaster.com (Wild West Domain Registry)
https://www.Domainance.com   (Directi's 'Public Domain Registry')
Fonts and graphics blog:
https://Worthful.com

Oh yeah, I design logos, websites, graphics, ads, marketing campaigns, PCs, and just about anything, really. -DP

DANUS FONTE

light version of "folletto grasso"...