By request, avantgarde Roman text in 3x3. Made for a friend's musical project!

By request, a "waffle stencil".

This is an E6x6 broken into nine 2x2 fields. The larger and the more precisely cut it is, the more readable it becomes!

Version 1.1: Q* were corrected.

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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.

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!

An asymmetrical boldtype. This will be used in rulebooks for the Freeform Limitless Adventure Kit (FLAK) pen-and-paper game system which I have developed since 2002.

An experimentally modernized version of Basalt. Lots of things get experimentally modernized these days, don't you think?

Continuing on the theme of overzealously antialiased pixel fonts, here's a 3x5 no-wasted-matrix design. The shading enabled me to make many glyphs which normally need to be truncated or compressed (MWaemswz@«©»®, etc). Looks best at 2x Pixel size!

This gives me an "old newspaper" feeling and seems like the kind of font that would be used for the text of such newspapers in old adventure games.

Telos 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 convert this font into the non-antialiased version, or clone the layer the translucent pixels are on and achieve more interesting effects.

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.)

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

A spirally design which tries its best to be lineal. Check out the "M" to see the "ammonyte". :D

Well, for some time I've wanted to make a font entirely with spirals. This is not that font, but it's as close as I've gotten to actually carrying out the idea. This is also small enough to use for body text, which is likely more than will be able to be said about an actual 100% spiral font.

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Original size: 15.75pt (use multiples of this size for pixel perfection)

Font from the ingame marquee display of "Barcade Brawl", a 2015 game by yours truly. This was made to look similar to the system fonts from old arcade boards, PC microsystems, etc. You've probably seen the fonts I'm talking about; they're everywhere and many people refer to them singularly as "the arcade font" or "the NES font".

This is 7x7 with no wasted matrix, but it looks better without monospacing since not every glyph is the same width. It also makes a decent terminal & chat font, at least for those who don't care about the case of the messages they read and write.

Feel free to use this in your games, etc.!

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Original size: 5.25pt (use multiples of this size for pixel perfection)

A style of writing based on Orcish architecture, culture, and mythology. The main design rule was "no diagonals".

The name is inspired by Beogh, god of orcs in the Dungeon Crawl: Stone Soup video game.

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Original size: 6.75pt (use multiples of this size for pixel perfection)

A busy and sometimes harsh-looking stencil design. It has a structural asymmetry which I think gives it a casual look.

Check out the Pixel views! It looks a bit like a light-up marquee.

Experimental 5x3 font. This went through quite a few iterations! The result is surprisingly readable, but still not quite something I'd want to use as a chat font.

In making this I did my best to avoid compression and truncation, trying instead to use the interpretation of light as my guide. Many glyphs don't look much at all like what they represent, but as my eye glides over them, they make sense and I read them without issue.

A compressed, squareish microfont. 4x4, monospaced, no wasted matrix.

I like how this one uses all the space it occupies. Glyphs like ijl1 fill out the words they're in rather than creating voids. Also, i looks kind of like a lit candlestick, and I like that.

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Original size: 3pt (use multiples of this size for pixel perfection)

Experimental sliced sans serif. My goal here was to make a design which would result in an extremely compact and durable physical stencil. If any readers end up constructing this stencil, I'd love to see it! I don't own any CNC tech myself...

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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.

Font made for the title cards of a particular amateur movie!

(Hint: It's called "Terminatrix")

A monospaced 3x5 font used in Vidora15 and later programmable electronic displays made by AMFA Cybernetics (formerly "ATMA Robotronics").

This font is made with AMFA encoding in mind. As such, the character set is very limited and there are no glyphs which require NKRO>1 or buckybits (Alt, Ctrl, Fn, Shift, Strg, option keys, etc). The glyphs normally present at these codepoints have been reverted so that any text displayed in this font is also effectively displayed in AMFA encoding. The encoding has 48 possible glyphs (including one which doubles as both "null" and "new line") so there are 96 glyphs in this font overall.

Hope this saves you some work, Feng! :^)

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Since this exact font and encoding scheme were used in other devices and software, some of which were (or had) games, I'm also tagging this with Game Recreations.

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Original size: 4pt (use multiples of this size for pixel perfection)

MIV: h6.24 @ 1x / m8.35 @ 1x

Version 1.1: KRX were modified to be more readable at small size, MQW14'" were edited for style, Basic Latin band completed, More Latin band underway.

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A font made by request for an author of custom Warhammer 40K modules.

This started out as something diamondy and piratey, then turned a bit gothy before finally becoming a bit tridenty or perhaps even braziery. Ya feel me? I'm comin' atcha LIVE from this font description box.

This works best as a display font for short phrases. The name comes from the story by George G. Toudouze. If you went to public school in the USA, you've likely read the story.

A squareish and vaguely futuristic pixel design! It is not monospaced but still has a very "terminal" look about it.

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Original size: 5px (use multiples of this value for pixel perfection)

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 variant of Micro Machina which is made to be more open, more consistent, and simpler in geometry than the original.

Having become accustomed to reading the original Micro Machina, I'm not sure if this version is actually more readable or not. Some might prefer it...

A variation of Linestrider with rounded line terminals.

A vaguely Russian-looking font which is used in various media relating to The Boris Barkov Show.

A "Connect bricks" font.

It's called linestrider because the outline strides across the inline on both sides. It also reminds me of the courses that are drawn for line-following robots.

A font which looks like the emissions of a Marengi Broadbeam.

A variant of Gridlarva with filters removed and many letterforms altered.

The last entry in the Pseudostencil series... this is built at 2x2!

It seems like the sort of font I'd see carved in relief on the sign of an old pub.

An attempt at Gridbug in 2x2!