A typeface inspired by the theme "Filthy", developed through exploring the repetitive behaviours in pornography and online relationships.

A font I designed for the animation series, "The Boris Barkov Show". This is made to look blocky and industrial, but still fairly modern. It's mostly built on a 5x5 grid, and is perfectly useable as a pixel font, but is meant for high-res applications.

The show's titlecards only use this font in uppercase. But, I designed a lowercase for the sake of accessibility.

The show is about a stereotypically Russian, mustachioed, ushanka-wearing pug named Boris Barkov. Apart from speaking both English and Russian, he's able to play the video game "Escape From Tarkov", wield a sword and rifle, and carry and throw objects despite his lack of opposable thumbs. His nemesis is PugB (the Americanized "Rambo" pug) and he's rumored to have shady dealings with Sam Yippington, the Latvian Dachsund arms dealer...

Most latin characters are replaced with dots

In development

http://66.media.tumblr.com/2b8428dcde5be0994bb662bf73b89481/tumblr_nuwgv5DhoK1s0g2deo1_1280.png For use.

This font was created for my roleplaying game. It is intended to be written in vertical columns with the hexagon starting a new paragraphm the large T-shapes start each new line, and the hooked bars are for adding extra information to words.  

Space Quest III (3) Astro Chicken Code by wuji0000

Original size: 15pt

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A font which has a spurless, sans-serif, pixelated polygonal look which is somewhat reminescent of fonts used in VHS technology.

A lot of applied science has gone and continues to go into this design. It's designed to remain legible on all media in all use conditions, provided that one uses the original size or a multiple thereof. Numerous technologies and mediums are being employed to realize this objective.

"Diaspora" is now being tested and refined for use with/on/against:
     • CRT, LCD & e-Ink screens
     • image formats & compressed imagery (GIF, JPG)
     • printers (inkjet, bubble jet, laserjet, & thermal)
     • analog video & multi-generational copies (VHS, Super 8)
     • digital video (AVI, MP4, MPEG, WEBM, WMV)
     • 3D and voxel models (Blender, MagicaVoxel, POV-Ray)
     • dynamic scaling hardware (game consoles and capture devices)
     • imagery plugins & filters, including image degraders
     • image scaling/interpolation hardware & software
     • image recognition hardware & software

These all have traits which degrade, distort, compress, glitch, or otherwise alter imagery in various ways. This design aims to minimize the loss of legibility from these effects and to attain the best scores possible in various forms of imagery analysis. So far, this has proved extremely useful, as it can remain fully legible even when extreme JPG or video compression are applied to it thousands of times.

A piece software I helped write, called the Marinan Imagery Deconstruction AI System (MIDAS), is being used on captured images of this font. The end objective is to realize the design which has the best all-around Marinan Interpretability Value (MIV) for all the tested platforms - the design which is considered by MIDAS to be the most legible in the most media under the broadest range of use conditions and quality levels.

MIDAS uses a set of considerations made with both humans and computers in mind, so a high MIV does not necessarily equal a better font - it just means one that the system thinks is easier to visually interpret. Note the use of the phrase "visually interpret" as opposed to "read". MIDAS tries to determine how well people and computers can tell what shapes are, not how much enjoyment they'll get from reading or how much strain they might undergo while doing it.

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VERSION HISTORY:

1.0.0 - initial release.

1.0.1 - More Latin support added.

1.0.2 - First batch of tests run.

1.0.3 - gjy5&ßẞ were improved, some glyphs added.

1.0.4 - Second batch of tests run. Space width reduced.

1.0.5 - Experimentally converted to a rounded spurless design, then converted back to a plain spurless after testing. A few new ligatures were added.

1.0.6 - Cyrillic and Greek enter development. Many of these letters must be altered to be distinct from their Latin counterparts.

1.0.7 - Some spacing values changed to increase internal consistency. More difficult tests are being devised. However, since only I seem interested in this type of work, this project is going on hiatus for some time.

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See also: AMFA, a font built with similar considerations in mind

ASDAS

Recreation of the large pixel font from Konami's "Castlevania: Bloodlines" (aka "Castlevania: The New Generation", 1994) on the Sega Mega Drive. This font is used for the map, level start/end messages, and boss names in the end titles. Only the characters present in the game's tile set have been included.

Eh, just some Font for my game. No biggie.

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.)

A recreation of the faux-italic pixel font from Konami's "Biker Mice from Mars" (1994) for the SNES. Only the characters found in the game are included.

Updated 05/2017 to add a few missing characters and fix existing one.

Updated 07/2017 because the ampersand was missing a pixel...

what can i say...

just a stencil sans font

 Distressed is an uppercase font focusing on the theme destruction. Within this element I looked more specifically at mental health and how social media has an affect on our mental wellbeing. I created a cracked and distressed effect on each individual letter to visually express the pressure and insecurity we can experience from social media.

We're back to the futurism.

Dunno what I mean by 'back', I never left in the first place.

Version History:

1.2: Added Dutch and German.

1.1: Q* were corrected.

1.0: Initial release.

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Font used for rAIn, shipboard AI of the RGS-1 Rainbow Loop. This will also likely be used in FLAK materials, as well.