From the Final Fantasy Advance and DS games. Specifically the final version, from FFIV DS. I tried to make it compatible with all languages that use Latin, Cyrillic, and Greek scripts. Plus Japanese Hiragana and Katakana.
If you see problems, let me know.
CHANGES FROM IN-GAME ORIGINAL:
•Added additional letters and diacritics.
•Changed the circumflexed letters to use actual circumflexs instead of inverted breves, so I could add breved letters.
•Used half-pixels to center diacritics over letters.
•Made some diacriticized letters more consistent.
WIP.
Inspired by Witcher game(part 2-3) logo.
See more: https://radimpesko.com/fonts/lyno
https://fontstruct.com/fontstructions/show/711448/fs_phobos
https://www.fontstruct.com/fontstructions/show/1616378/japanese-3070
https://fontstruct.com/fontstructions/show/456325/valhalla_5
This is a clone of CryostasisI attempted a blackletter style without any knowledge or references. The result reminds me of a vampire's writing!
The name "Dethzmezenger / Death's Messenger" comes from one of many old joke bands which I created.
Original size: 17.25pt (use multiples of this value for pixel perfection)
I finally made a folded-/ribbon-style design. This one contains a number of experimental techniques. Most notably, the swept parts of glyphs are allowed to extend beyond the letterwidths and sometimes even the baselines. This enhances the sense of movement, creates some interesting linkages, and reduces the need for kerning.
All of these shapes can be constructed with paper or ribbon, although lots of clever folding tricks, doubling, and pinning down/securing with glue would be required.
Alternate tilde on "±".
Version 1.5
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A font made in the proto-calligraphic style I invented and used when I was a teenager. I haven't owned a nibbed pen since those days, so this font is as far as the style was ever allowed to evolve. It's somewhat lacking the handwritten character my writing had, but this regularity is the result I was trying to achieve. I had no particular use in mind for the style other than titling documents. For that reason I consider this to be a Headliner.
"I" is kerned to itself so that it can be used to make nicer-looking Roman numerals.
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See also:Basalt Pixel
Experimental brush/pen thing. Has a slightly spooky look. Because of their tapering curves, many glyphs can render with a "split" or "stencil" look about them. This is due to software-imposed limitations on vector rendering. Designs which share this property can be considered Pseudostencils.
This design is not informed or inspired by any existing typographical traditions. I set out to make the "claw" bricks (as I call them) into a font and this is the result.
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A design with long ascenders and descenders, even on letters that don't normally have them. Good for "old book" text in video games.
This is used in ESOSVM for most text which occurs while the player is in the dimension "Ladede", thus the name. Ladede has a canon, cosmology, and eventing which are seeded by in-jokes relating to roguelike games, especially Dungeon Crawl: Stone Soup. A font like this, in that context, is meant to be elegant but also mocking. This makes it seem subtly adversarial, as roguelike game elements are wont to do, and helps let the players know that they are in a bad, screwed-up place that they are unlikely to understand.
A connected script which attempts to depict an obvious ductus or flow to the writing. To set this one apart even more from my others, I built the capitals on a 6x6 grid.
The name comes from yet another old joke band.
Original size: 5.25pt (use multiples of this size for pixel perfection)
Semibold version of Nobody's Treasure. Most glyphs have the same width as before, and the overall width of the font is the same.
This is a clone of Nobody's TreasureOh Thy Sphinx Of Black Quartz, Doth Judge Mine Vow (Now comes with Rounded Option)
This is a clone of Xtructleim DisplayA pixel font which combines four experimental techniques at once:
1. Structurally disconnecting the stems from the open parts of letters.
2. Allowing glyphs to extend beyond the reaches of width and starting position.
3. Designing glyphs specifically to connect and form new shapes, rather than simply allowing shapes to emerge from existing characteristics.
4. Designing glyphs so that the overall font is free of a need for kerning.
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Alternates are now on UPPER CASE. I'll continue to update this as I get more ideas!
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Original size: 6.75pt (use multiples of this value for pixel perfection)
A 117-segment display made to have a more "mosaic" look. Try using this one at odd sizes, especially with antialiasing off! The resulting distortions occur in a consistent way which leads to many new uses for the font.
Original size: 38pt
The script of the gods. Produced for the project Sephira Tale: Reclaiming the Light. Inspired by Anglo-Saxon Runes and the Ethiopian Ge'ez script.
Here are some notes on the orthography:
'C' is mapped to the /x/ or /ç/ sound, the voiceless velar fricative.
'Q' is mapped to /tʃ/, the voiceless postalveolar affricate.
'X' is mapped to /ʃ/, the voiceless postalveolar fricative.
The voiceless dental fricative /θ/, as in 'thorn' is mapped to the letter that appears when you enter 'þ'.
The voiced dental fricative /ð/, as in 'the' is mapped to the letter that appears when you type 'ð'.
Optionally the 'D' or 'Z' can also be mapped to this sound in some contexts.
The cluster 'tion' that appears at the end of words can be rewritten as 'xun'.
When writing for the 'qu' cluster, use 'kw', 'ku' or 'kv' instead.
The last entry in the Pseudostencil series... this is built at 2x2!
It seems like the sort of font I'd see carved in relief on the sign of an old pub.
Pixel gothic somethingorother. Diabolical + Malicious = Diabolicious.
Original size: 5.25pt (use multiples of this value for pixel perfection)
Recommended: Use with kerning turned ON!
A semi-bold Diabolicious. It is the same width and size as the original!
Original size: 5.25pt (use multiples of this value for pixel perfection)
Recommended: Use with kerning turned ON!
This is a clone of DiaboliciousLatin alphabet in an Ashrian style, mostly using a 2x3 grid, and using only stacked triangular bricks. Capital letters represent the full letterforms and lowercase letters represent the truncated letterforms used in Ashrian printing and computer systems.
Ashrians are the inhabitants of Planet Ashr in my RPG video game "Seven Candles". Their signmakers, carvers, and woodworkers used triangular gouges for millennia to make their letterforms.
VERSION HISTORY:
16 Mar 2018 - v1.0 released.