- NOTES -
Use lower case to get Modern Gryzildan and UPPER CASE for Royal Gryzildan. Hold Shift while typing numerals/symbols to get the Royal ones.
These scripts do not canonically appear together on any in-universe writing. Gryzil writing is always written entirely in one script or the other. But, feel free to use this as you wish.
- DESCRIPTION -
This font contains two scripts of the Gryzil, Brer Brah's people, who are from various video games and stories of mine. Gryzil are a sapient bear-people that live on/near beaches in the continent of Skina on planet Fyromr. They have dull greenish fur, can speak, read, write and use tools, walk bipedally, and have beer fermentation chambers for stomachs. They appear in ESOS, Trap Farmer Brer Brah, and Anime Girls vs. The Cavemen.
The written language of these creatures is designed to be without subtlety. Most of the subtlety of Gryzil communication is gestural. For instance, quotations do not exist in Gryzil writing. There can be a record that someone said something, but only when a Gryzil who heard it firsthand speaks of it is there understood to be a quotation - the rest is simply hearsay.
This font is made as an attempt to anglicize the Gryzildan language - not to write it natively. Hence, it has some resemblance to Latin. But in fact these symbols all represent different gestures as well as different rasping, stamping, growling, and ingressive sounds which are unknown within Earth humans' formalized language studies. Nonetheless, you can write authentic Gryzildan with this. Read the Chalcedony-Bound Manual found in any of the games in which Gryzildan is used.
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Original size: 5.25pt (use multiples of this value for pixel perfection)
04 JULY 2022
Added U+FFFC (OBJECT REPLACEMENT CHARACTER)
Added U+E000 (.notdef)
Fixed U+FFFD (REPLACEMENT CHARACTER)
Inverted marquee made for a friend. A lot of conversations we had informed this design, but those are best kept between us. Suffice to say that the friend in question wanted this font to embody certain principles of his avant-Daoist beliefs, and he is satisfied that the current form of this font accomplishes the goal.
A variant of Radio Grave which took many hours to produce. I think the effort was worth it! This is a functional Multi-font and can produce a broad range of effects, especially when used at down near the original size.
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Shading Rules:
1. Use the darkest tone on the outermost concentric region and get lighter as one progresses inward.
2. Let the 5x5 region surrounding the exact center of each glyph use the lightest tone, except when this would place the lightest tone into its neighboring region.
3. Glyphs with diagonals and glyphs which use a smaller than 5x5 drawing area may bend rule 2 for the sake of more consistent and/or interesting shading.
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See also: Fuzzy Logic
Original size: 12.75pt (use multiples of this size for pixel perfection)
This is a clone of Radio GravePandora's Blocks is a new kind of box. A better box. A box that contains things unheard of in the world of humans, a box that dissolves problems and anxieties and casts them unto the wind, a box that turns the words you say and the thoughts you think into ambrosia. Do the right thing and don't not not de-un-open the box. There are bad things living in there.
You must repost this message on Facebook within 30 seconds. If you don't warn at least 12 people about the dangers of pixel fonts by tomorrow, your great-great-great-great-great-great-great-grandma will rise from the dead and raid your kitchen. She was a master Sandwichologist employed by Sir Francis Bacon himself. Repeat, DO NOT OPEN THE BOX.
This is my attempt to make the smallest possible font. Each character fits inside a 3x3 pixel square (4x4 pixels if you include the space between characters). This font can be useful where pixel space is at a premium, like on an LED matrix or a mechanical display.
I don't consider this a truly complete font because there is no distinction between the capital letters and small letters. Also, some of the special characters can be difficult to descern without context. Nevertheless, this font can create readable text strings and convey information using a minimum of resources.
I am publishing this font under a Creative Commons license, so that anyone can use it for any purpose. Attribution is appreciated but not required.
Leave a comment if you make something cool with it!
James Robert Patrick IV
Framed, perfect symmetry, seamless tiling, no composites, no filters, no MSG.
This was made in the style of a reticle or selection field, but it is capable of much more. It can create the appearance of a cargo net, electric grid, or caution-taped area. It's high impact and captures attention quickly, much like an electric caution cargo net.
Use with 0 line spacing for the best effect!
This tileset was developed specifically for use with GBStudio, where graphics are stored in the system as 8x8 tiles. By using these tiles, one can incorporate a greater variety of tiles into a map without running into the 192-tile limit which Game Boy hardware has.
Well, before making this I already found ways to break that limit (and to use larger tiles), and the resulting games compile fine and even work on real hardware. I made this anyway for those who wish to never exceed 192 tiles, thus keeping their games small in filesize and reducing the likelihood of compiling problems.
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Original size: 6pt (use multiples of this size for pixel perfection)
A simple 16x16 terrain tileset. This is designed to work in color AND in monochrome.
In making this, I condensed all known biomes (terrestrial, aquatic, air, space, manmade, transitional) into 26 tiles. This allows a given tile to define multiple different types of areas/terrain, and it allows you to come up with your own meanings for these tiles, rather than having to memorize a legend. Some of the tiles are obvious and some are not; this is by design.
A-Z, a-z = terrain
0-9, 0-9+SHIFT = map borders/frame
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Original size: 12pt
Map Template:
.0123456789
!,,,,,,,,,,
@,,,,,,,,,,
#,,,,,,,,,,
$,,,,,,,,,,
%,,,,,,,,,,
^,,,,,,,,,,
&,,,,,,,,,,
*,,,,,,,,,,
(,,,,,,,,,,
),,,,,,,,,,
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See also:Donjon 16, Gremlin Skins
I designed this 16x16 pixel font to facilitate texturing and dithering for pixel artists. Not every piece of art software has tools designed for texturing/dithering, and loading lots of custom brushes for the purpose can slow one's software way down as well. This font was made to attempt to solve these problems. Now you can dither, shade, and texture by typing! Every glyph repeats as a seamless texture both horizontally and vertically.
The name comes from my emulator/game, "Virtua Gremlin". Although these patterns weren't in the game (it used 9x9 tiles, not 16x16), many of the patterns here are based on that earlier work. "Skins" is a reference to graphical skins, of course. :D
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USAGE GUIDE
A-Z = textures
a-z = dithering/shading patterns
0-9 = scanlines
The rest is sort of a mishmash... I'll organize it better once I have enough glyphs to warrant a good classification system...
Have an idea for a pattern? Want to see a particular sprite or aesthetic included? Let me know :D
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Original size: 12pt (use multiples of this value for pixel perfection)
Tip: View this in the Character Map so you can more easily grab and paste glyphs when designing!
See also: Gremlin Skins HD
The original logotype font used for Endless Sea of Stars/ESOS, a massive simulation. Designed by me circa 2010.
Since this uses only right angles and has no lone pixels except those in negative space, it's pixel perfect at any size. That's why it's in two collections.
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Original size: 5.25pt (use multiples of this value for pixel perfection)
Guess who made another font with diamonds? This uses both additive and subtractive techniques in a minimalistic way to make a moderately readable design. Best viewed at extremely small or extremely large sizes. At small sizes, it takes on a Western slab serif-esque appearance.
A hybrid font made for a friend's game.
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See also:Fuzzy Logic
Some kind of great big ol' chain.
In retrospect, I think it looks like a jewelry chain from a dwarven civilization. Perhaps the hypothetical jeweler cut and ground the stones in an imitation of some dwarven font!
When glyphs are used in isolation, they somewhat resemble carved signets or seals. Increasing the letter spacing allows you to create a variation of the design. (This is something that must be done in-software since the font will render as monospaced by default.)
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12SEP2018: Added lowercase... the low resolution combined with the design method make it very difficult to render distinctive lowercase versions of every letter, but I'll keep working on it. There's a lot of similarity between pairs like S/5, Z/2, etc., so this font is most effectively used in forms of writing wherein context suffices to inform the reader as to the identity of each glyph (lists, prose, and technical writings). If you want to use this in a password system or something, I recommend using one case's glyphs only.
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Design Rules:
1. Negative spaces will be areas of 0.5 bricks' effective length or width.
2. Negative spaces may exceed the 0.5 measurement only by increments of 0.5 and in only one dimension at a time.
3. Glyphs will fill their framed canvasses to the greatest extent possible while adhering to the other rules.
Version 1.1
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An alternate take of Diamond Eyes with circles replacing the 2 smallest diamonds. No brickswapping used - many diamonds shared bricks so I had to place the circles by hand. This permutation introduces more texture, solidity, and complexity to the original. Hope ya like it!
This is a clone of Diamond EyesExperimental cloud flower doodle thing.
While this looks bizarre, it creates some unique effects. It is also visible at FAR smaller sizes than any other font I have seen. Check out the Pixel view to see. Interestingly, this superb readability is lost once the font is enlarged from this size.
I haven't figured out what to do with the numerals yet, and only put the placeholders there so I could get a better preview on my page.
By request. This is the Shepard Tone of fonts - constantly rising and falling. Best viewed at around 2x Pixel size.
I was initially going to do a lowercase for this, but then the requestor changed their mind. So this being published as-is.
This is your medicine. YOUR medicine! So if you don't like the taste, maybe don't drink it.
A font resting on some columns. This was a doodle that became an experiment, so there was a lot of iterating.
I made the columns wide enough for a variety of different designs to be able to stand on them, so feel free to clone this and try your own!
A monospaced version of Barcade Brawl that has been modified to work well as a roguelike font. Not every glyph is centered yet, but all the Basic Latin and More Latin ones are.
A few glyphs (such as #) are modified to break the matrix so that they link together. This is because these glyphs are used to form continuous walls and other structures.
Note also that this design uses a 7x7px matrix which is monospaced at 8px to create 8x7 tiles. I have placed a stray pixel on an unused glyph to make 1px of extra line spacing occur so that the final tiles are 8x8. The preview here onsite adds another px, so it looks slightly out of square. The sample below does too, because it was made before this fix was implemented.
I was working on another spinoff of this that was high-resolution rather than pixel, but since this font has the same LC and UC, I might transplant those glyphs to this font as well to make it as multifunctional as possible. That will more than double the work of making an already big font, though, so it will depend on whether this font gets used by others. A few game developers already use the original "Barcade Brawl" so there is a possibility...
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Original size: 5.25pt (use multiples of this size for pixel perfection)
This is a clone of Barcade BrawlA serif font wherein almost every glyph has serifs and the serifs determine a glyph's shape. All lines that are not serifs or forming a vertex with a serif are isolated. This is a different technique than I used for Lonewolves Guild and Nurvusystem.
This is a borderline IVO design, not because of its appearance, but because it requires the same set of visual considerations to interpret.
A font made to be very economical.
This design uses as few unique shapes as possible. In addition to extensive rotations and flips (see AR, EMW, FL, GJUV, IHKT, NSZ25), glyphs are made so that they can be cut down to make other glyphs in as few cuts as possible (see BEI, used to make ACDFLMNOPRSWYZ1235689). Some other glyphs (see QX.,) then make use of the cut parts.
This means that, were these letters to be physically made, the maker would only need a few forms to start with and could cut the rest in only a few steps.
The name was chosen because of both a running joke between friends and because it was the coolest-looking phrase I tried when I auditioned the font.