Typeface based on the Love Live! School idol project logo subtitle. This typeface attempts to be more accurate than existing substitutes (OCR, Anvylon, White Rabbit etc.) (even though only like 14 of the characters are restorations).
EDIT 6th May: Added most of Latin-1 Supplement. Some punctuation characters now take as much space as the whitespace character.
This beautiful font is a recreation of an original font appearing in the SNES strategy game Romance of The Three Kingdoms IV: Wall of Fire, released as Sangokushi IV in Japan. It's my second Koei font recreation after Ishmeria (from the game Gemfire) and I think it's a very pretty and stylish font.
The character set of Sangoku4 includes a vast array of additional diacritic variants, number variations, bonus characters, unique glyphs, and also full sets of the Japanese hiragana and katakana alphabets from the original Japanese version of the game.
I recommend to use this one with font sizes that are multiple of 16pt and avoid any font smoothing or anti aliasing methods.
~ Sangoku4 by Caveras - a font recreation based on an original font from the SNES game Romance of The Three Kingdoms IV: Wall of Fire, developed and released by Koei in 1994. ~
This is a cloneThis is a faithful recreation of the original font used in the SNES RPGs developed by Quintet. There is already a popular font based on the game called Lunchtime Doubly So, but that one has none of the special characters used in the European localizations of the game, and also none of the original Japanese characters.
This trademark Quintet font appears in all their SNES RPGs (namely Soul Blazer, Illusion of Gaia, and Terranigma), but with many little differences depending on the game at hand. Gaiatype is a recreation of the Terranigma typeface variant, to be exact, with its own spacing and character set.
Featuring all the European diacritic and extra glyphs as well as a complete set of all the hiragana and katakana characters from the original version of the game, called Tenchi Souzou in Japan, this marks my most extensive font to date with over 760 glyphs in total.
The base font size and recommended setting for Gaiatype is 16pt and multiples of that. Use metric kerning and no additional smoothing effects for the ultimate Terranigma experience.
Terranigma on the SNES, known as Tenchi Souzou in Japan, was developed by Quintet and released by Enix in 1995.
~ Gaiatype - created by Caveras after the original font used in Terranigma for the Super Nintendo. ~
Another favorite computer RPG: Old English font from Betrayal In Antara, (C) 1997 Sierra On-Line. Sierra Resource File Tags: "8.fon" ; "501.fon" ; "4210.fon". Kerning is from "501.fon", which appears to be only found in Betrayal In Antara. Numerals (except 3 & 8) are from "4210.fon", found in Torin's Passage, (C) 1995 Sierra On-Line. Numerals 3 & 8 are designed by Goatmeal.
Please enjoy a private clone to see how I dealt with contrast, curves, bracketing, variable letter width and the difficult-to-achieve emboldening of the capitals’ vertical strokes within a minimal fontstruct matrix (and If you like what you see, please download for personal usage and vote kindly! :)
Intaglio’s amazing recent work makes similar strides (see the excellent rounds, for example), offering a solution before me to several of these long-standing impasses of the medium.
More characters to come... :)
This is a cloneNarrow and heavy, ultra bold Piano key designs once required fractional brick scaling to generate their distinctive slit-like counter forms while working with maximum curves. Composite stacks provide a more elegant and versatile solution to this old problem. In this way, they can be seen as an important milestone on the road toward individually scalable bricks...
Letterspacing is kept tight in this fontstruction, but still needs a great deal of manual kerning especially around all the character lacking serifs on one or both sides.
72+ initial downloads done during testing and troubleshooting. More characters to come. Enjoy, and please vote kindly. : )
This is a cloneThe ultra-low resolution of this grid may be difficult to grasp without cloning. Fontstruct’s logo has a nominal x-height of 3 bricks, by comparison.
The level of detail, control, and finesse possible in a given fonstruction depended mostly on resolution prior to the recent advent of stackable composites. Did you want it better? Make it bigger!
Brute force, now meet Elegance.
Instead of building individual glyphs hundreds of bricks tall, stackable composites allow us to design rich modular schemata hundreds of bricks deep. Using curved bricks at their largest scale, linear and curvilinear elements dynamically harmonize and oppose. As well, screen fonts can be effectively hinted (aside from notable lack of kerning controls) without sacrificing the integrity of joins and intersections. And the trapping possibilities, Oh the sweet sweet trapping possibilities...
Please, vote kindly and stay tuned for more :)
This is a clone