A skeletal version of Modron March.
This is a clone of Modron MarchExperimental sliced sans serif. My goal here was to make a design which would result in an extremely compact and durable physical stencil. Almost all of the sharp points and acute angles are within the negative space, so it should be easy and very safe to make, handle and work with this stencil.
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Version History
1.3 - added More Latin and Google Fonts Basic bands.
1.2 - added uppercase, changed name to "Aegris Stencil".
1.1 - edited for more readability at small size. Glyphs with enclosed loops were altered so that the "movement" of the segments always runs clockwise.
1.0 - released.
A stencil design in which diagonal cuts are used to imply angles and curves. It does not quite obey the rules of a segmented display, but it tries its best!
This is inspired by some text I put on the side of the Sheepslayer Mk.2, a flying dragon car piloted by Lyll "Hatch" Soretti in my game Seven Candles.
Trying this style out. The name comes from a monster in the game NetHack.
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See also:Gridlarva
Version 1.1: Several glyphs (BKMRWXkmwx38&{}µÆæß³Œœ™) were edited for readability and þ was edited to distinguish it from Þ.
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A font made for a friend's board game!
This gives me a strong "film credits" feeling with its high impact and simple geometry.
A design that combines tropes from fantasy, sci-fi, and sports in a subtle and pixel-optimized way.
Structurally, this looks like a high-res version of Marengi Mk2. There are still plenty of differences between the two, but since they seem equally readable to me, I'm tagging this as a chat font.
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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Iteration 4: Basic Latin kerning finished.
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DOODLE DOODLE DOODLE!
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Design Rules:
1. Letters with spurs will have the spur begin at the baseline. This provides the distinctive "high heeled" look.
2. Any letter whose traditional design has a straight vertical line on its left side will keep the line, no matter how the lines of the actual letter travel.
Iterated version of an unreleased design called "Midnight Oil". It's also slightly related to Dethzmezenger and Gehenna.
I went against a few of my own conventions for this one. The close spacing might look a bit strange at times, but it eliminates the need for kerning while also creating a unique look. The overlapping spurs make me think of thorny plants!
This is an original design, but it does make me think of Planescape: Torment when I look at it, thus the name!
Paradoxy Effect, now with more dots.
This is a clone of Paradoxy EffectParadoxy Effect, without the Effect. Quite a drastic transformation!
This is a clone of Paradoxy EffectA continuation of ideas in Candylander Plain. Half-arcs couple with short ascenders and descenders to make this.
I made a blocky, industrial sort of style, then added art deco-style line width variation. Then, a couple of tech lines here, a couple of details there, and SHAZAM! We get these 1950's-era raygun-toting space race zippity zap letters. It's a font Marvin the Martian might use...
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Original size: 7px (use multiples of this value for pixel perfection)
Experimental cyberpunk robot mosaic thing.
It gives me a strong "system font" feeling and seems like something that might be included with the OS of some futuristic tech deck. If the Fairlight Excalibur from Shadowrun Returns had its own font, this could be it!
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Original size: 21pt (use multiples of this size for pixel perfection)
Cybernaut turned inside-out! The result is mostly illegible except when used at multiples of the original size and with antialiasing turned off. At the original size (2x Pixel size), it's capable of some magnificent cybernetic aesthetics.
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Original size: 21pt (use multiples of this size for pixel perfection)
This is a clone of CybernautHere we have a filled-counter pseudoserif pseudostencil that is also a borderline IVO design at the same time! It also has a bit of a "double font" look going on if you look at the negative space.
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Design Rules:
1. Internal negative spaces of glyphs will be filled such that a 0.5-brick-wide void exists between the filled space and the glyphs themselves.
2. When a glyph's horizontal line intersects with the filled space created by Rule 1, both the filled space and the line will be broken.
3. Vertical lines will only connect by two tapering curves or by the implied connections created by filled negative space.
4. Filled negative spaces may only join with the outer perimeters of glyphs.
Version 1.3: Added Polish.
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Another simple experiment with composites, this time trying to make a font which can easily accomplish a "diamond encrusted" or "disco floor" style effect within my graphics software.
SPOILER: I succeeded. :D
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This is a cloneTelos Unicase with overzealous antialiasing applied to it. It looks as if it were automatically antialiased by 16-bit hardware - a bit smudgy, almost pencil-shaded. Check it out at 2x Pixel size!
Despite its simple looks, this font is just about the densest thing I can create on a 5x5 grid without obfuscating the letters themselves.
While using this font I discovered some unforeseen uses for shaded styles such as this. Since the "antialiasing" occurs in only one shade and never overlaps or replaces solid pixels, it can be easily mass-selected. One can quickly and easily recolor sections of the font, convert it to the non-antialiased version, or clone the layer the translucent pixels are on and achieve more interesting effects.
This is a clone of Telos UnicaseA 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.
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.