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!
Original size: 9pt (use multiples of this value for pixel perfection)
An ornate Goud with lots o' thorns! Now with MORE THORNS.This is a clone of Goud
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.
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!
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.
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.
An inverted alternate version of Spiderling that's glitch-free... for now, at least!
I think this doesn't look nearly as spider-like as the original... your mileage may vary...
A sunburst pattern was converted to negative space, resulting in little spiders!
An attempt to make a "classroom" font. It reminds me of a font style which was once commonly used on magnetic letters.
See also: Hydrangea Unicase
This was once a shy, lineal design... then it rebelled against its parents, went subtractive, and finally became futuristic knotwork. Gnarly!
Original size: 15.5pt
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
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 most anything non-English needs to be pretty large to be unambiguously read...
A more "organic" or "biomechanical" version of Cybernaut. Looks best at sizes that are powers of 2.This is a clone of Cybernaut
A "glitchy" or "fried" Cybernaut. Looks best at sizes that are powers of 2 (try 2x or 4x Pixel size)!This is a clone of Cybernaut
Cybernaut turned inside-out! The result is mostly illegible except when used at multiples of the original size and with antialiasing turned off. At the original size (2x Pixel size), it's capable of some magnificent cybernetic aesthetics.
Original size: 21pt (use multiples of this size for pixel perfection)This is a clone of Cybernaut
Stained-glass blackletter Frankenfont thing. :D
UC cloned to LC to make this easier to use...This is a clone of Chimera Spine
Just a stencil doodle. Seems like it would go well with the Kitchen Sink family.
This is built at roughly 3.5x5, but shrunk with filters to look squareish and to make the line spacing very small.
See also:Guillotine Blade
Cybernaut with finer lines. It must be used at twice the size of the original.
Original size: 42pt (use multiples of this size for pixel perfection)This is a clone of Cybernaut
A greatly altered Cybernaut!
Original size: 21pt (use multiples of this size for pixel perfection)This is a clone of Cybernaut
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!
Original size: 21pt (use multiples of this size for pixel perfection)
SPOOKY GHOST FONT. A work in progress. Getting the right spooky apparition look is pretty intensive, but I managed to finish the basic character set before Halloween. :D
This started as a 5x5 design. After realizing S and Z would look far better if I made them 1 square taller, I converted the whole font to be roughly 5x6. At this low resolution, it's hard to get the degree of irregularity which I think makes these letters look ghostly... but, the idea is certainly present!
This design seems like it'd fit in with a lot of horror and science fiction stuff, too. Apart from the "smoky"/"ghostly" look, it has a "melted" one which suggests a hot place or maybe immersion in acid. It also looks a bit like slime, and finally at smaller sizes it has a glitch-esque appearance.
A semibold Gongclonker made to the same specs as the original - 5x5 with no wasted matrix.This is a clone of Gongclonker
Some kind of great big ol' chain.
In retrospect, I think it looks like a jewelry chain from a dwarven civilization. Perhaps the hypothetical jeweler cut and ground the stones in an imitation of some dwarven font!
When glyphs are used in isolation, they somewhat resemble carved signets or seals. Increasing the letter spacing allows you to create a variation of the design. (This is something that must be done in-software since the font will render as monospaced by default.)
12SEP2018: Added lowercase... the low resolution combined with the design method make it very difficult to render distinctive lowercase versions of every letter, but I'll keep working on it. There's a lot of similarity between pairs like S/5, Z/2, etc., so this font is most effectively used in forms of writing wherein context suffices to inform the reader as to the identity of each glyph (lists, prose, and technical writings). If you want to use this in a password system or something, I recommend using one case's glyphs only.
1. Negative spaces will be areas of 0.5 bricks' effective length or width.
2. Negative spaces may exceed the 0.5 measurement only by increments of 0.5 and in only one dimension at a time.
3. Glyphs will fill their framed canvasses to the greatest extent possible while adhering to the other rules.
The Zephiest of designs - a gaggle of Roman columns with gongs stacked on them.
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.
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.This is a clone of Nirvanite
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.
Experimental mosaic... or maybe a new mineral species?
This one started as a doodle. I began placing circles to see what kinds of complex shapes I could make, and this was the result.
It achieves a new visual effect at almost every size up to the original. Also try slowly moving the zoom slider for some interesting animations!
This font is now nearly 1MB in size! I guess it has to do with the intrinsic complexity of circles.
Experimental 24-segment display or massive monochrome Mondrian matrix. Pixel compatible!
The thinking behind this one was that with incongruously sized segments arranged in the proper way, I would create a design which was effectively 5x5, but which accomodated more glyphs than 5x5 usually does. Negative space is incorporated into the structure of many glyphs, though not enough to classify this as an IVO design.
"Qualtron" is the name of an imaginary entity that a friend believed in - a being meant to represent the result of "a mathematical equation that can rule the universe". I didn't inquire further about it... :D
1. Segments can have interior length/width of 2 or 5.
2. The central 2x2 square must always remain open.
3. Square bricks and 90-degree angles only.
Original size: 20.75pt (use multiples of this value for pixel perfection)
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!
See also: Badwolf