MY MOST LEGIBLE FONT YET: E.

MY GOAL FOR THIS WAS TO MAKE A COMPLETE GROTESQUE FONT IN ONE DAY, AND I THINK THAT I ACCOMPLISHED THAT. WHEN IN DOUBT: PIXEL FONT!

This was featured inside my font: Pelagic Octopus.

Some alternative (less intrusive) forms are found in the capital section.

Use a size of thirteen point in order for the pixels to match up.

INTENDED LANGUAGE SUPPORT

• BELARUSIAN

• BULGARIAN

• ENGLISH

• HAWAIIAN

• NORWEGIAN

• RUSSIAN

• SERBIAN (CYRILLIC AND LATIN)

• SLOVENIAN

• TE REO MĀORI

• UKRAINIAN

THIS IS BASED ON MY HANDWRITING. NOT MY REGULAR HANDWRITING — THAT DOESN’T ALLOW FOR LOWER-CASE LETTERS; SO WHENEVER I NEED TO WRITE SOMETHING WITH LOWER-CASE LETTERS (SUCH AS IN EXAMS.), I USE THIS STYLE.

I KNOW THAT IN PLACES IT LOOKS A BIT BROKEN. BUT AT THE SMALL SIZES OF BULK TEXT, IT SHOULDN’T BE TOO NOTICEABLE; IT’S NOT REALLY DESIGNED AS A DISPLAY FONT.

AND I ALSO KNOW THAT SOME SERIFS AND STROKES AREN’T EXACTLY COMMONPLACE (SEE THE UPPER SERIFS ON THE LETTER: “u”). IT’S JUST HOW MY HANDWRITING TURNED OUT.

INTENDED LANGAUGE SUPPORT

• ENGLISH

• RUSSIAN

• TE REO MĀORI

“WHAKAITI” IS A MĀORI WORD MEANING “TO MAKE SMALL”. IT’S ROUGHLY PRONOUNCED: “ɸɑkɑiti”.

CLICK ON THE “PIXEL” BUTTON TO MAKE IT LOOK, LIKE, A BAJILLION TIMES BETTER.

INTENDED LANGUAGE SUPPORT

• ENGLISH

• MĀORI

• SLOVENIAN

• RUSSIAN

THINGS THAT FONTSTRUCT NEEDS

• A DITHERING TOOL

• AN ELLIPSE TOOL

• RECTANGULAR-  AND ELLIPTICAL-OUTLINE TOOLS.

• A BUCKET FILL TOOL

• RULERS

• A SKEWABLE GRID

• A MASS KERNING FEATURE (OR EVEN AUTOMATIC KERNING, THAT’D BE NICE)

• SUPPORT FOR MULTIPLE FAMILIES WITHIN ONE FILE

• A TERMINAL FOR PROGRAMMING ALGORITHMS TO AUTOMATE REPETITIVE, PREDICTABLE ASPECTS, AND A WAY TO REFERENCE THE GRID SQUARES AS AN ARRAY OF SOME KIND

DON’T THINK THAT I’M SHOUTING ABOUT THIS. I JUST DON’T LIKE LOWER-CASE LETTERS!

100% free

This font is a clone of "Cloher Mewrett Yiuoppo".

I have made a lot of new letters, and I have added the French accents.

After pasting the gum tape in a certain place in Tokyo before and after
There was a guard who wrote the letters on the signboard in a way that was shaped with a cutter.
This font is an homage to the letter.

I made in pursuit of cuteness.
This is for English and European languages only
There are no Japanese characters.

Postscript: The upper part of A was adjusted to "Δ" or "Λ".

This font is a clone of "15 * 15dot-ariake".

こちらのフォントは"15*15dot-ariake"のクローン版です。

Additions and extensions of Latin characters, and Greek and Cyrillic characters are also included.

ラテン文字の追加・拡張、またギリシア文字やキリル文字を収録しています。

In addition, in the area to display Hangul
I wrote Braille in the sequence of Louis Braille's Braille Table.

おまけとして、ハングルを表示する領域に
点字をルイ・ブライユの点字表の並びで書きました。

It is a font in which half-width alphabets are written with 15 × 7 pixels.
Therefore, the character is rough.

Heavy font for heavy work. 

Made for Obscure Process, a zine about weird digital art techniques.

v0.9

Clone of PUMA logo C adding characters for Esperanto. The 'E' is for Esperanto. It now supports English, Russian (Cyrillic), & Esperanto. I also modified Э/э to make them more distinguishable from З/з

copy of fauxreign with capitals added. 'g' and 'y' are also distinguished by two dots under 'g'.

Closest recreation of UNDERTALE Speech Bubble font! (directly from game files)
Ближайшее воссоздание шрифта Монстров во время битвы из UNDERTALE! (прямо из файлов игры)

Pixel art font for Polish language

Closest recreation of original UNDERTALE font! (directly from game files)
Ближайшее воссоздание оригинального шрифта UNDERTALE! (из файлов)

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 "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.

The person I made this for requested lowercase. I'll add it as I can.

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.

Trying this style out. The name comes from a monster in the game NetHack.

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See also:Gridlarva

A dashed line design made with the new half-arc bricks. The emphasized spurs/stems and off-kilter geometry give it a quirky, almost handwritten quality. Its striped appearance makes me think of candy as well as the Cheshire Cat, thus the name. :D

I doubt the upper case would look as cute as the lower. So I've cloned all LC to UC to make this easier to use...

Pixel demake of Goud. This is easily the best Goud for body text, as it remains crisp at all sizes!

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Original size: 9pt (use multiples of this value for pixel perfection)

An ornate Goud with lots o' thorns! Now with MORE THORNS.

Rather than serve an ornamental or decorative purpose, this one is made to be as clean as possible so that it works well for body text. It's highly legible at small size, so it could potentially even be a programmer's font!

"Goud" stands for "Garden of Unearthly Delights", the name of an album from the band Cathedral.

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!

An extension of ideas present in "Gehenna".

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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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.

Version 1.6

An attempt to make a "classroom" font. It reminds me of a font style which was once commonly used on magnetic letters.

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See also: Hydrangea Unicase

Original size: 15pt

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

A lot of applied science went into this design. It's designed to remain legible on all media in all use conditions, provided that one uses the original size or a multiple thereof. Numerous technologies and mediums were employed to realize this objective.

"Diaspora" was 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 and voxel 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 of 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.

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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.

1.0.7 - Some spacing values changed to increase internal consistency. More difficult tests are being devised. However, since only I seem interested in this type of work, this project is going on hiatus for some time.

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