Font from the awesome PC/Steam game "Streets of Rogue".

I'll add More Latin support soon, provided the game actually has it. Entering those glyphs into the game is a pain - no copy/paste and Alt codes don't seem to work. I'll probably use a savegame editor to change a character's class name into a bunch of More Latin glyphs so that I can see how they render.

An alternate system font for the Virtual Gremlin, a software-based games prototyping system I wrote in 2016-2017. This font ended up never being used.

This was only able to be recovered due to the advent of a lucky screenshot which a friend posted online. The font was in a spritesheet which was being shown off, so I was able to FontStruct it!

By request: A squareish serif. 5x7 with no wasted matrix.

It makes a decent companion font to Gumshoe.

Another free 5x5 pixel font for game developers.

This one has a vaguely authoritarian quality thanks to the hard 90° angles.

Looks like a Game Boy font to me!

Feel free to use it in your games.

A 4x5 design made for legibility, aesthetics, and an almost authoritarian regularity. This makes it suited for comics, tutorials, general reading, and more. It can be easily read at its original size with the same effort it would take to read a high-res design of the same size.

This design has been tested and reported to make an excellent font for IRC and other chat clients! I'm now using it for that myself...

Original size: 4.5pt (use multiples of this value for pixel perfection)

A 7x7 outline design which is made to form solid-looking masses from the glyphs while still allowing the outer perimeters of words to take on some unique shapes.

Original size: 5.25pt (use multiples of this value for pixel perfection)

A font made to have an early 16-bit look, kind of like the HUD font from Sonic the Hedgehog games. These glyphs are rounded off for consistency and the lowercase has been narrowed.

How much detail can you get by expanding 3x4 to 3x5? Not a whole lot, as it turns out. Still, this is nice and readable.

A 5x5 design made to be very open and airy.

It has a much higher degree of internal consistency than most of my other designs. This was achieved by opening up the forms (A,E,F,J,K,P,Q,R,W,X,Y), minimizing the use of diagonals (A,K,X,Y,Z), using a soft 1px break to indicate curves (B,C,D,G,O,P,Q,R,U), and squaring off a few areas that are normally angled or rounded (M,S,W,Z).

"Ash Isotope" = "Apotheosis". Bit of an in-joke between friends. :^)

A rounded version of Pixelcruiser Flagship. I think rounding it off both made it better-looking and more readable! This now looks like something I'd use in pixel comics.

A tiny font made for pixel art tutorials and streamer use. The inspiration comes from old art of video game controllers which I used to make, in particular the letters ABCLRXYZ which I drew many times on many controller buttons. The more complex letters (B,E,M,W) take on slightly abstract forms for neatness' sake.

Since these glyphs are all 4x4 unicase, compositing them for use in Fontstruct tutorials might save you a lot of work. Feel free to clone this for such a use.

Original size: 3pt (use multiples of this value for pixel perfection)

See also: Four on the Floor, Glyphstamp 1x1

Based on the Generation III Pokemon (Emerald, FRLG) battle screen, includes Hiragana/Katakana and Fullwidth bold text used in the Japanese versions.

My attempt at making a Unown font where all the letters are consistent in size. This is original pixel art made using a high-res reference. It's made to be a nice-looking design, not to be 100% accurate to the games. Upper case is fully kerned.

"We Dunno" is an anagram for "Unowned".

Original size: 6.75pt (use multiples of this value for pixel perfection)

Recommended: Use with kerning turned ON!

A font made to reskin a particular roguelike game. This is made to look cold and slightly insidious. I accomplished this by using a 6x6 grid which, apart from being a slightly odd size, gives the forms asymmetry and makes their enclosed parts look as if they're squinting or sneering. Best seen on letters like A, B, P, and R.

Monospacing helps give the whole thing regularity and reinforces the clinical/overly-serious feeling.

The game this is made for has very few ASCII glyphs. But, I will expand this to support all ASCII characters soon. I know many games (CDDA, DCSS, DF) support new tilesets so maybe I'll optimize this for those kinds of games...

See also: Nobody's Treasure

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...

Current Version: 1.8

Recommended: Use with kerning turned ON!

See also:Dynablaze

5x5 font with a distorted, skewed, or glitched look about it. Plays well with actual glitch effects.

Another Gemscript and another IVO series entry. :D

Runic alphabet of the Ormumi, a race of orange-skinned cyclopean humanoids native to Planet Fyromr in the games ESOS and Trap Farmer Brer Brah among others.

Pixel demake of Xenolifer. Check Xenolifer's page for the origin story.

5 rows, 5 columns, 5 minutes. 5 is a fun number to work with, don't you think?

Font used in my game "Anime Girls vs. The Cavemen". UPPERCASE for the caveman speak, lowercase for the anime speak.

A design inspired by mineshafts and the wood scaffolds which are built to shore up tunnels in order to prevent them from collapsing.

Original size: 5.25pt (use multiples of this value for pixel perfection)

A fairly standard 5x5 design with a little added flair. The sort of text you might expect to see in fantasy maps and atlases.

Uppercase only!

Original size: 3.75pt (use multiples of this value for pixel perfection)

Lawgivers' font. Vertical members are doubled, horizontal members are not - except when needed to complete vertical members. Overhangs and bends help to make glyphs more distinctive.

Original size: 5.25pt (use multiples of this value for pixel perfection)

A 6x6 font made to look thief-esque. Like a master thief, it attempts to hide in plain sight - putting on an "official" look, or even one that's reminescent of Merchants Guild. But something's wrong. Parts of it are a bit crooked, and the trained eye can easily see it for what it is. APPREHEND IT!

Original size: 5.25pt (use multiples of this value for pixel perfection)

5x5 pixel font in which no lines are allowed to bend or touch at all. Where they would bend or touch, they are segmented instead.

Possible non-game uses for this: Circuit design, light arrangement, wiring design, αPX electronics, primitive writing systems...

Original size: 3.75pt (use multiples of this value for pixel perfection)

5x5 boldtype.

Original size: 4.5pt (use multiples of this value for pixel perfection)

Handwritten medieval pixel font in 6x6. This one is made to have an eloquent, enchanting look - the sort of look merchants might use to advertise and sell goods.

Original size: 6pt (use multiples of this value for pixel perfection)

Handwritten medieval pixel font in 5x5. This one has a subtle rightward momentum which is imparted by the slants of letters and the positions of curves/angle changes. The idea is a font that inspires one to continue forward and onward. :^)

These Guild fonts are meant to convey the idea of different professions while using extremely small canvases. They're small enough to be used on practically any computer system or game console.

Original size: 4.5pt (use multiples of this value for pixel perfection)

Another conlang/conscript from my own works. These are the Symbols of Starborn Lightness used by Asgari.

Asgari is an artificial sun orbiting Gara, an interstellar planet. It was built to use Starborn Lightness symbols as concept-units in order to electronically convey information to the Garai people about itself. So, these symbols were originally something like status indicators. Until C.Y. 1997, they could be seen on displays in the Celestial Telemetry Room at Magong Stack One in Upper Netazeca.

However, some Garai re-used the symbols to make constructed languages and ciphers. Monsaic Sun is unique among these in that it uses only the existing symbols, without any alteration. So this font can be used to write either language.

Appears in: Seven Candles Trilogy (2013)

A highly exclusive language used by Ashrians on Bysonce Island, Planet Ashr in my video game Endless Sea of Stars. This one is used for private documents and old government records, and its brother language Eudastiphos Hand is used for public court documents.

Zheyl the Voice of Declaration is the only one alive who knows how to write this language fluently, and one of the only ones who knows how to speak it at all. Well, except for me. :^)

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Calystiphos Hand is much simpler than its brother language, despite looking much more complicated. Each glyph refers to highly specific concepts and so it is most used to record time-tested, factual information rather than stories or fiction. However, these glyphs can still be considered as runes, as each one is host to whole mysteriums of information and idiomatic knowledge which have been associated with it.

Bysoncians use a base-8 system of numeracy. 9 would thus be written as 81, 10 as 82, etc. There is no numeral 9.

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Calystiphos is the Ashrian god of siroccos. The simplest way to put it is to say that he represents the "yin" of the pantheon.

A written court language used by Ashrians on Bysonce Island, Planet Ashr in my video game Endless Sea of Stars. This one is used for public court documents, and its brother language Calystiphos Hand is used for private documents and old government records.

These glyphs could be considered a form of shorthand unto themselves, since each court stenographer has its own way of writing these down and its own way of abbreviating or embellishing them. Through knowledge of these glyphs and their accompanying interpretation, one can surmise all of the important proceedings and notes.

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Common methods for stenographers to alter these glyphs involve:

- Adding/removing quadrants

- Crossing out one or more elements in colored ink

- Drawing connecting lines between points within one or more quadrants

- Inscribing shorthand or marginalia within negative spaces

- Marking or coloring within the central circle

- Shading via different means (scribbling, crosshatching, or with colors)

- Rotating a quadrant upon its own axis

It's important to note that stenographers also often write (either in Royal Bysoncian, Sea Bysoncian or Voktlandish) in accompaniment with these symbols. The idea is for each stenographer to come up with a system of encoding that works for it. Eudastiphos Hand could thus be considered an amalgamate, interlingual cipher built from other Ashrian languages.

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In terms of communication systems which exist on Earth, this is most readily compared to Nsibidi.

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Eudastiphos is the Ashrian god of mistrals. The simplest way to put it is to say that he represents the "yang" of the pantheon.