Original size: 15pt

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

A lot of applied science has gone and continues to go into this design. It's designed to remain legible on all platforms in all use conditions, provided that one uses the original size or larger. 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 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.

This same font was tried in a high-res format, but didn't perform nearly as well. This design is made with the medium of its creation in mind and a high-res version would need to make many changes to compete.

If I had a budget, I'd build a website and make a competition out of these ideas... still, if you make fonts that are designed to perform like this, I'd love to talk about them.

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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...

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

An alternate system font for the Virtual Gremlin, a software-based games prototyping system I wrote in 2016-2017. This font ended up never being used.

This was only able to be recovered due to the advent of a lucky screenshot which a friend posted online. The font was in a spritesheet which was being shown off, so I was able to FontStruct it!

Portable Vengeance in negative. A few glyphs (such as "Q") were truncated for the grid.

Rather than spacing this so the blocks form a continuous reel, as I usually do, I decided to let things be a bit spaced out. This makes the font much better at attracting attention. And, since this is made to show system messages in games and consoles, it works out!

Marengi inverted and made to look like it's on a tape or reel. This is used in videos for captions and in games to produce a "caution tape" or "police tape" effect. Uppercase Only!

Cryptographic Font utilizing a proprietary binary matrix algorithm designed by Joshua Michael Conci © 2017

This font and the symbols therein are direct results of the binary code for the letters, numbers, and special characters acting as seeds for a matrix code.

Every character is unique even if they "appear" similar. The top and bottom horizontal lines indicate the binary code for the associated letter. Black squares are 1 and spaces are 0.

This is a fictional numeric system that I'll use for my TRPG plays and in my world.

"Dot" = 0 | I = 1 | II = 2 | III = 3 | V = 4 | "V with strike" = 5 | "Inverted N" = 6 | "V with vertical line" = 7 | "Flipped V" = 8 | "Flipped V with strike" = 9 | + = 10 | X = 100 |

S = 1,000 | "Inverted E with +" = 10,000 (myriad) | "Inverted E with E" = 100,000,000 (myriad of myriad)

This is a NEOGEO´s System font, in bold

This font come at "Mutation Nation" & "NAM-1975" Dialogs texts

This typeface design is a edited version of Pharoan Ultra Bold as it was heavy and bold which gave me more to do with it, the theme of the type is destruction.

I wanted to merge both Deconstructivism and Glitch Art into my typeface. By finalizing my idea I looked at how letters could be morphed by being pulled and pushed, what would it look like if the letter was to be dropped what shapes it could form - instead of taking parts away from it.

A strong, clear, monospaced font. Made to resemble 1980s Acorn 8-bit microcomputer text, but much smoother. Good for programming, text editing and consoles. Contains a full set of CP-1252 glyphs for single byte values 0x20-0xFF. Also contains basic sets of Cyrillic/Greek chars, and arrows/blocks/boxes/widgets for text interface design.