Recreation of the pixel font from Aikom/Vic Tokai's "The Mafat Conspiracy" (1990) on the NES.
This font contains an almost complete set of hiragana and katakana characters. In the game's tileset, the dakuten and handakuten are separate tiles, and positioned in the line above the character they relate to. In this recreation, these characters are pre-combined into a single glyph.
Apart from these, only the characters present in the game's tile set have been included.
Basketcase is a bold, decorative font. My inspiration first came from walbaum decoritve font and then I shifted more towards taking a spin on DDC harware.
I decided to make a design which incorporated the thinnest/lightest weight lines possible in FontStruct. This is the result; I'll add more if people like it.
These 1/32 lines cannot be accurately nudged, so a unique line has to be built for each vertical position where I want a line. These lines also cannot be centered on a place where two curves meet (such as the middle of B or R). This introduces some unintentional asymmetry to the design, but I like it, so I'll keep it.
There is also the problem that forming a diagonal line of the same line weight is nearly impossible. While angled 1/32 lines can be formed, their angles are all close to 0. No method exists for making a line which slants at 45 degrees while also being 1/32 weight. So, I had to make some thicker lines in certain areas. I don't think they detract from the design, but if you scrutinize this enough, you'll notice them.
Heavy font for heavy work.
Made for Obscure Process, a zine about weird digital art techniques.
Cybersquare was designed to be a display font. The flat serifs and square counters give the essence of something old that is merging with new technologies. The name Cybersquare comes from the influence of Courier in code and the square nature of the letterforms. It is a typeface created using old ideas to look into the possible future. Cybersquare is meant to be used large on products such as posters and book covers.
By request, a polygonal font with a slightly militaristic feeling.
The truncated polygonal perimeter of most glyphs is somewhat inspired by the lettering on World War I planes, tanks, and ships. These forms of lettering tended to have more square aspect ratios. I changed that to give this font more personality and to condense it so more text could fit on a line.
The concept for Cürve is simply curves and holes. The typeface can be used in any context. The name Cürve came about from research on letters with diacritical marks. It is very interesting how a simple character can change the way an entire word is pronounced. Each letter was made to be original and eye-catching but at the same time simple and artistic.
I am very inspired by the movable type used in letterpress. The goal was to make these old typefaces more modern and available for digital use. In order to make the typeface more modern, I added angles instead of slopes, focusing on very large serifs, paired with long, skinny letters. The name of this typeface is very straightforward, it is named Hipster Gutenberg.
Version 1.3: Added Polish.
Another asymmetrical sans-serif made for use in rulebooks for the Freeform Limitless Adventure Kit (FLAK) pen-and-paper game system. This one is classed as a hybrid and works well at all point sizes!
It began as a Constant Height design, but now I don't classify it as such since most of the letters with diacritics are taller than those without. A few letters (eszett, thorn, eta, etc.) are allowed to descend slightly, as well.
This font has also found some use on signage at a friend's bistro!
I needed a pixel font that was optimized in space but still comfortably readable, so I created Simpixel.
As three by five (3x5) seemed a reasonable size for capital letters and numbers (cf. A, B, E, S; 2, 3, 8 etc.), I tried my best. This didn't always work, as particular letters naturally need more horizontal space (cf. M, W; N, Q), such that some ended up four or five pixels wide (Though I have created a monospaced version - Simpixel Mono - where I managed to also condense those letters to 3x5).
I then worked on the small letters and eventually the rest of the Latin and even the Greek letters, just for fun. Of course, the less basic letters tend to be larger in size. Emoticons, pictograms and miscellaneous symbols fall into that category too (cf. ½, ⅓, ⅔, ¼, ⅛, ⅜, ⅝, ⅞, ⅟, etc).
With all that being said, thanks for checking this out!