Another of Dr. Zeph's* mad experiments! This is an Alien Latin Groovy Minimalist Thingamabob with numerous unique forms of dyslexia-inducing ambiguity.
* not a real doctor
Inspired a little bit by my previous font Nordkurve. As a result, I've named it after another German Formula One track curve. Nürburgring, this time.
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 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.
Made by request for an associate. "RADD" stands for "Research And Development Division".
A seriously stemless sans-serif. It approaches minimalism, but doesn't quite get there. This gives it a look that lets it blend in with lots of things!
A more bookish take on Comicool, made for more comfortable general reading. It's still useful for comics, as well!
Many letters were squared off in the corners, lowercase letters were given stems, and an assortment of glyphs were edited for more style.
This is the third iteration of Comicool... rather than develop them all toward one style, I tried to make each iteration the best it could be. The result is three distinct, but still compatible styles. This one is probably the best for body text!This is a clone of Comicool
Inlined style variation for the MAKITA typeface family.
The solid version can be found here:
A design inspired by large scale industrial fabrication
A inlined style varriation can be found here:
https://fontstruct.com/fontstructions/show/1559798/stf-makita-solidThis is a clone of STF_MAKITA (INLINE)
A half-sized, filterless version of Comicool Unicase which also has square terminals.
This has lowercase, but is made for all-caps comic book style lettering, so consider the lowercase as something added for accessibility's sake...
A formally-dressed Zigourat. :DThis is a clone of Zigourat
Original size: 15pt
A font which has a stemless, 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. This font is designed to be 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 different platforms all have traits which degrade, distort, compress, glitch, or otherwise alter imagery in various ways, and so this font is designed to minimize the loss of legibility.
So far, the design 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. In other words, I'm trying to make 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. Then, I can isolate more of the principles involved and start making more interesting designs using them.
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.
08OCT2018: Due to the perceived lack of interest in this project, I'm shelving it til a later date. The font has already performed extremely well in tests so I don't think it can be substantially improved, only expanded.
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.
See also: AMFA, a font built with similar considerations in mind
A design that looks like a top-down view of ziggurats!
I composited the diacritics so they'd fit into place, but this means that anything non-English needs to be pretty large to be unambiguously read...
This is a somewhat bold font that is free for use by anyone.
An experiment which attempts to harmonize soft curves and straight lines while eschewing angles. The result is this "inkflow" design. What is the opposite of an inktrap? I don't know, so I'm calling it inkflow.
This could also be viewed as a hybridization of neon-style lettering and normal sans serif... it is not quite made to be either one, but could act as a decent companion font to them. Most neon fonts need a larger size and are thus more suited to headers, while this design is well suited to body text.
This could also ALSO be considered a Hybrid because it works as both a pixel font and a high-res one.
My fictional font for my fictional language. Doesn't use all 26 characters. It is a WIP because I haven't made the numbers.