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

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".

Verbossus in sans-serif!

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 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 reminescent of VHS technology.

A lot of applied science has gone and continues to go into this design. It's designed to remain legible on all platforms in all use conditions, provided that one uses the original size or larger. Numerous technologies and mediums are being employed to realize this objective.

"Diaspora" is now being 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 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 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.

This same font was tried in a high-res format, but didn't perform nearly as well. This design is made with the medium of its creation in mind and a high-res version would need to make many changes to compete.

If I had a budget, I'd build a website and make a competition out of these ideas... still, if you make fonts that are designed to perform like this, I'd love to talk about them.

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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...

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

Experimental cyberpunk robot mosaic thing.

It gives me a strong "system font" feeling and seems like something that might be included with the OS of some futuristic tech deck. If the Fairlight Excalibur from Shadowrun Returns had its own font, this could be it!

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Original size: 21pt (use multiples of this size for pixel perfection)

Version 1.3

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A modernized, rounded, and truncated version of Marengi. This is made to be a good text editor/chat font. It has very few kerning pairs, so it should render fine in any software.

Ascenders are only allowed to be as tall as the uppercase/numerals, while descenders are allowed to go 2px below the line. This creates a natural line spacing that is readable and not too dense. (Diacritics break this rule, of course... darn them...)

Gone are the curved descenders/termini on letters like gjty. The simpler geometry makes this design more suited to speedreading than its predecessor. In fact, altering those four letters alone improves speedreading on this font by up to 14%!

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MIV: 8.81

Original size: 10.5pt (use multiples of this size for pixel perfection)

The Zephiest of designs - a gaggle of Roman columns with gongs stacked on them.

Version 1.5

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A font made in the proto-calligraphic style I invented and used when I was a teenager circa 2001-2002. I haven't owned a nibbed pen since those days, so this font is as far as the style was ever allowed to evolve. It's somewhat lacking the handwritten character my writing had, but this regularity is the result I was trying to achieve. I had no particular use in mind for the style other than titling documents. For that reason I consider this to be a Headliner. 

"I" is kerned to itself so that it can be used to make nicer-looking Roman numerals.

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See also:Basalt Pixel

Alternate take on Nirvanite, this time with bullseyes rather than solid circles as the large segments.

This one is a lot more organic than its predecessor, but also a lot more confusing. Looks like clusters of alien tadpole eggs to me!

If this design is modified, it will break. But, it has been tested and seen to produce no graphical glitches.

A slightly chimeric sci-fi design with no relation to Space Blam, Space Clam, Space Cram, Space Dam, Space Fam, Space Flam, Space Gram, Space Ham, Space Jam, Space Kazaam, Space Ma'am, Space Pram, Space Ram, Space Sam, Space Slam, Space Spam, Space Tram, or Space Yam.

In making this I attempted to achieve a harmony between angles and curves. You can see it especially well on "B", "3", "8", and "&".

Recent updates: "J" improved, lowered "*" so it wouldn't touch the line above it, added several glyphs.

Version 1.1

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A fusion of art deco- and Navajo-style design. Well, many civilizations used a square zigzag pattern such as this, but "Navajo" always comes first to mind when I look at this design.

The tilde is more ostentatious than the other diacritics because this is made for a Spanish-speaking friend!

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See also: Badwolf

Another of my many doodles. Fun to make!

Finally, a design where all the diacritics blend in and look natural!

Version 2.3

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Inspired by a comment by jonrgrover.

I built diamonds sized according to the Fibonacci series, then made a design out of them. The design was then carved away and modified to make the glyphs you see here. I used the members 1, 2, 3, 5, and 8. These sizes proved most feasible to work with in this sort of arrangement.

I gave the terminals a flared appearance which I think makes the glyphs look slightly Celtic. The design also makes me think of beach sand and things found on the beach - shells, pretty rocks, and so on.

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Not to be confused with "Diamondized".

An experiment in subtle asymmetry (it's most evident in the upper case).

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Version 1.7 (14Sep2018) - ExtL-A added, GFB completed, Greek started

Version 1.6 (18Aug2018) - Changed name from "RC Badwolf" to "Badwolf"

Version 1.5 (15Aug2018) - altered 2357,ð

Version 1.4 (14Aug2018) - altered space width and mw

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See also:Navajo Deco

A design with long ascenders and descenders, even on letters that don't normally have them. Good for "old book" text in video games.

This is used in ESOSVM for most text which occurs while the player is in the dimension "Ladede", thus the name. Ladede has a canon, cosmology, and eventing which are seeded by in-jokes relating to roguelike games, especially Dungeon Crawl: Stone Soup. A font like this, in that context, is meant to be elegant but also mocking. This makes it seem subtly adversarial, as roguelike game elements are wont to do, and helps let the players know that they are in a bad, screwed-up place that they are unlikely to understand.

Version 1.4

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A variant of Kitchen Sink Rounded with filter sizes altered so that most letters are enclosed within golden rectangles. This is a squatter and friendlier take on the design - good for header text.

UC cloned to LC to make this easier to use...

Font made for the logo of a particular project/video game of mine.

Some kerning pairs are imperfect... I can only bring them 10 bricks closer together, so a bit of space remains...

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Current Version: 1.9

See also:Dynablaze

An experiment to see how good of a hex grid I could make with just the hex brick. Answer: Pretty good!

(Use _ for the blank grid.)

This is capable of some pretty convincing "TV static" type effects, too!

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Some letters were recently reworked to make them more consistent with the others in height.

I made a blocky, industrial sort of style, then added art deco-style line width variation. Then, a couple of tech lines here, a couple of details there, and SHAZAM! We get these 1950's-era raygun-toting space race zippity zap letters. It's a font Marvin the Martian might use...

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Original size: 7px (use multiples of this value for pixel perfection)

High-res version of Marengi.

This is made to be ultramodern and ultraregular, just as high-tech futuristic corporations are wont to make their fonts.

MIV: 7.94

Recommended: Use with kerning and antialiasing turned ON!

Balloon/block style pixel text.

Original size: 18.5pt (use multiples of this value for pixel perfection)