This is an enhanced version of the retro font you see on old games. Still WIP. The squares are just placeholders and will be removed shortly. I hope to make this have more characters than any other fonts in the future (this might take a while). This font can be used in retro-style games, computer graphics, or anything else you can imagine. This font is pixelated, meaning it is lightweight and easy to port to many devices.This is a clone of Ndless Default Font
Confidento is a typeface based and styled on the word Confident, aiming to produce a type which uses features that are strong and bold. One of the main characteristics I have aimed to encorporate throughout this process is the use of a balanced type design, enabling the design to not become too heavy. I achieved this through the means of having large variation in width across different aspects of the text.
A font inspired by the lettering on the First Navy Jack, the original flag of the U.S. Navy. (No relation to the Gadsden Flag or the political movements which use it as a symbol. This was done for the sake of art, not politics.)
I attempted a blackletter style without any knowledge or references. The result reminds me of a vampire's writing!
The name "Dethzmezenger / Death's Messenger" comes from one of many old joke bands which I created.
Original size: 17.25pt (use multiples of this value for pixel perfection)
Another old-school font... Use Font sizes that are multiples of 3.
(3, 6, 9, 12, 15, 18, 21, 24, 27, 30)
Click the pixel button on the bottom right of the sample text screen.
My first time create typeface. Inspired by vintage patterned bricks Vietnam in the late 19th century and and Old English. Each glyph has same curves. Suggestions and critiques are welcome. Thanks!
Eclectic old-fashioned font with short ascenders and single-width proportions.
Rossica (Vera Evstafeva)
http://typejournal.ru/en/articles/Civil-TypeThis is a clone of Chrysalide Modern
What began as a half-resolution pixel sketch then acquired a row and column of space between each respective row and column of pixels. In this way I manually doubled the grid, refining glyphs and adjusting their widths as I filled in the 75% undefined pixels that grid-doubling produces. Uppercase was my next addition, then revision, revision, revision.
Visualizing curves, contrast, bias, and stem thickness with whole pixels as the unit of increment turns out to be a very interesting game. I suspect I have just enough resolution to achieve the level of fidelity in the curves I was going for. Composites will allow for more subtle refinements while smoothing out most of the diagonal lines used (with the exception of the current N and X).
Enjoy!This is a clone
The ultra-low resolution of this grid may be difficult to grasp without cloning. Fontstruct’s logo has a nominal x-height of 3 bricks, by comparison.
The level of detail, control, and finesse possible in a given fonstruction depended mostly on resolution prior to the recent advent of stackable composites. Did you want it better? Make it bigger!
Brute force, now meet Elegance.
Instead of building individual glyphs hundreds of bricks tall, stackable composites allow us to design rich modular schemata hundreds of bricks deep. Using curved bricks at their largest scale, linear and curvilinear elements dynamically harmonize and oppose. As well, screen fonts can be effectively hinted (aside from notable lack of kerning controls) without sacrificing the integrity of joins and intersections. And the trapping possibilities, Oh the sweet sweet trapping possibilities...
Please, vote kindly and stay tuned for more :)This is a clone