Qoniqt is a pixel script ainjoo typeface designed by Zach Streemke in 2021. It is an italic design as a "distinguishing" text. In 2021, it was designed by Igino Marini to make "New Coptic" letters. In 2021, it was properly FontStructed by Avalro Iltaolic to make "New ligatures and Cyrillic" latin letters. e had a curved bar with no straight segment, a was at the wrong position, It kept small sizes as well. In 2021 by Arvilo Marvona, It added "Cyrillic Ghe With Upturn".
I wanted to try some 'deformation' of the perspective used for italic glyphs. It was fun to try, the font looks amusing and the slants are irreverent enough. I know that a word processor could change Raysan into an italic style but a word processed Raysan would be too predictable and without creative spark.
Despite the purposeful changing of lines specially the curved sections which don't follow any "perspective rule" this font looks italic. It has a pleasant rythm in longer headlines etc, and gives eye catching 'splash' text when used with the parent font.
It took quite a while to finish, I constantly fought the wish to make composites and stacks to get the correct shape and directions into the curves.
This is a clone of RaysanRC Dynamite with altered filter sizes. The result looks as if it's sizzling, part of a mirage, made of cardboard, or even made by tire tracks!
This is a clone of RC DynamiteA stencil version of RC Dynamite made for laser cutting! Could also be an LCD Segment design with slight modification...
This is a clone of RC DynamiteLogo font for the fictional band "Roan City Roadslickers" from D2:ES.
This is a clone of RC Dynamite87.10 degree slanted font for Italicized italic italic Ultra-Italic italic Italian italics. Thanks for making me design a whole family of fonts that hurt my eyes, Zuloph. :P
After I made RC Vertigo, Zu said he could still read it. I began to create increasingly slanted designs, and this one was finally the one he couldn't read.
No symbols/numerals for this one. I consider it to be machine-readable only at this point...
Italic Dynamite! It's so slanted that using this font and turning italics on does nothing to change its appearance. My software doesn't know how to slant it further! It also gives me a mild sense of perspective or vertigo depending on how I look at it...
A script designed for the conlang of 'Ȑiþȑa̷în'.
The language of Ȑiþȑa̷înwas created at Farnad by a joint effort of Harlastes and Rakiana specifically for the use of the new ‘nation’ taking form from surviving Hyntellar, Aignar and Oumda peoples, who were later collectively known as the Ȑa̷inðâl (Ȑiþȑa̷în: ‘the agency of the world’). As a language, it was designed principally for morphemic elegance and semantic density while using the aesthetic phonemic preferences of its creators and intended speakers, perhaps inspired by the logico-mathematical concept of ‘elegance’ taught at Cynkyallat (Khalaris), Tain and Icoras. As a result, the range of consonants and vowels is relatively small, while also being highly inflected; making extensive use of suprafixes – where the first vowel-sound of a word is modified to change its grammatical function – and limited use of more standard suffix-inflection. In particular, the semantic density of Ȑiþȑa̷în made it ideal for transcription onto valuable or rare writing media as well as possessing a high level of concision in spoken form. Its most celebrated features were used in philosophy, where widespread suprafixing meant that singular concepts tended to retain their essential form regardless of grammatical function and in debate where complex ideas could be put over remarkably quickly. However, its suprafixional grammar also required excellent diction and enunciation from its speakers, precipitating a rather unique oral culture.
‘Ȑiþȑa̷în’is a compound word from the phrase ȑīþ ȑa̷în, which literally means ‘the speech of agency’ or ‘agency’s speech’ – relating to the important concept of ‘civilisation’ or ‘the agency of a people’ in the culture of Farnad. Ithas five cases, five persons, five tense-aspects, and two numbers in its inflectional system, while gender and, when necessary, mood, are conveyed lexically and through word order.
This is a clone1:1 2:2 3:3 4:4 5:5 6:6 7:7 8:8 9:9 0:0 -:sch ^:'
q:ch w:y e:e r:r t:t y:j u:u i:i o:o p:p @:ʺ [:yu
a:a s:s d:d f:f g:g h:h j:zh k:k l:l ;:ye ::yo ]:ya
z:z x:sh c:c v:v b:b n:n m:m ,:, .:. _:-
!:! ":" ':' (:( ):) =:SCH ~:'
Q:CH W:Y E:E R:R T:T Y:J U:U I:I O:O P:P `:ʺ {:YU
A:A S:S D:D F:F G:G H:H J:ZH K:K L:L +:YE *:YO }:YA
Z:Z X:SH C:C V:V B:B N:N M:M ?:?
Semiserif semispur minimalism.
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This design uses a few novel glyph-shapes and techniques to achieve its look. Most notable of these is the serifed a which lets the serif protrude to the right. I avoid this feature in almost all designs, especially pixel fonts, because it adds an unnecessary 1px of spacing - but for this font, the feature can be included without changing anything for the worse. Many other glyphs have this same sort of protruding serif/spur, and the slanted geometry of the serifs/spurs affords them a look that "retreats" from neighboring glyphs, rather than seeming to protrude into them.
WIP
This is a clone of sitelen kon