withered

Special characters: < (My OC's head), > (A heart), § (FS, though it may not look like it), Capital A with ring under it (alternate glyph for a)

Feel free to use and/or clone.

Fun fact: this was originally named percentage, but I changed it so it fits the style more

The nudge tool was used for some glyphs, like the dollar sign and yen sign.

The "Make Composite" tool was used to make the gradient effect.

Currently working on Katakana

Moto Verse is a bold, thick lettered and futuristic display font. It works incredibly well on logos, branding or pretty much anything that requires a modern vibe.

A variant of Radio Grave which took many hours to produce. I think the effort was worth it! This is a functional Multi-font and can produce a broad range of effects, especially when used at down near the original size.

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Shading Rules:

1. Use the darkest tone on the outermost concentric region and get lighter as one progresses inward.

2. Let the 5x5 region surrounding the exact center of each glyph use the lightest tone, except when this would place the lightest tone into its neighboring region.

3. Glyphs with diagonals and glyphs which use a smaller than 5x5 drawing area may bend rule 2 for the sake of more consistent and/or interesting shading.

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See also: Fuzzy Logic

Original size: 12.75pt (use multiples of this size for pixel perfection)

When life gives you halflemons, make Halfade!

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This is what I call a Plain Spurless design. There are no actual spurs, only right-angled corners to suggest spurs. All lowercase letters are like this except r, which is a Rounded Spurless because it needs to curve to avoid looking like Γ, and because it's only 2 bricks wide so there's no other place for it to curve.

I made this to have mostly right angles, to have a condensed look (see filrt), and to be good for speedreading. My own experiments in speedreading favored glyphs with simple curves which don't terminate in small arcs (see CGJSZfgjrsyz@()[]{}). There are exceptions (c2369?$) because these are more recognizeable when they have such arcs. Additionally, glyphs such as BPRXY have slightly rounded counters near the vertical center, which enhanced their readability without causing them to look out of place.

The remainder of design considerations were things which are fairly idiosyncratic and unlikely to be discovered by others. For instance, the descender of Q is 2 bricks, while lowercase letters' descenders are 3 bricks and symbols' descenders are 1 brick. This is the result of a technique that attempts to visually codify different cases & types of glyphs. The slightly different contours thus formed by each word on its underside seem to enhance both readability and aesthetics.

This font is based of the theme 'gregarious'. For this I looked into coral reefs and sea anemone, then developed ideas through print making with acrylic paint and sponges. The type face is inspired by the flowing nature of the sea anemone and how some sea creatures/ plants grow upwards towards the sun. Eventually the type began to look more like flames/ smoke than a plant, which I decided to focus on instead. This shows how a project can completely change from the initial idea and just how it is important to always develop further taking into account others opinions and thoughts.

Fuzzy Logic, but the darkest halftone has been replaced with a copy of the lightest.

The bands in the overlapping regions are artifacts of the FS preview. They don't show up when the font is used elsewhere. However, any size which is not a multiple of the original can create a different type of banding... I recommend using this at larger sizes...

Am Just trying this...

This is the 2nd version (cloned) from "Matilda"

Halftone patterns on a square grid. Gives me a "crime lab" feeling for some reason. Maybe it's the resemblance to frosted glass...

45NUM_WI71
         
         
MY MAPPING
         
1=14 fonts
         
<<       
1234567890
        >>
         
U0030-0075
 (48-117)
~~~~~~~~~~
0123456789
:;<=>?@ABC
DEFGHIJKLM
NOPQRSTUVW
XYZ[\]^_`a
bcdefghijk
lmnopqrstu
----------
°±²³´µ¶·¸¹
º»¼½¾¿ÀÁÂÃ
ÄÅÆÇÈÉÊËÌÍ
ÎÏÐÑÒÓÔÕÖ×
ØÙÚÛÜÝÞßàá
âãäåæçèéêë
ìíîïðñòóôõ
~~~~~~~~~~
U00B0-00F5
 (176-245)


                       7 WEIGHTS  +  1 ITALIC                       
                                                                    
                                                                    
                    << 1234567890 . 1234567890 >>                   
                     .............!.............                    
                 W7I0: 0123456789 ! °±²³´µ¶·¸¹ :W7I1                
                 W6I0: :;<=>?@ABC ! º»¼½¾¿ÀÁÂà :W6I1                
                 W5I0: DEFGHIJKLM ! ÄÅÆÇÈÉÊËÌÍ :W5I1                
                 W4I0: NOPQRSTUVW ! ÎÏÐÑÒÓÔÕÖ× :W4I1                
                 W3I0: XYZ[\]^_`a ! ØÙÚÛÜÝÞßàá :W3I1                
                 W2I0: bcdefghijk ! âãäåæçèéêë :W2I1                
                 W1I0: lmnopqrstu ! ìíîïðñòóôõ :W1I1                
                                                                    
                                                                    
  << 1  2  3  4  5  6  7  8  9  0 ,  1  2  3  4  5  6  7  8  9  0 >>
==+===============================+===============================+==
W7! 30 31 32 33 34 35 36 37 38 39 | B0 B1 B2 B3 B4 B5 B6 B7 B8 B9 !W7
I0!  0  1  2  3  4  5  6  7  8  9 |  °  ±  ²  ³  ´  µ  ¶  ·  ¸  ¹ !I1
--+-------------------------------+-------------------------------+--
W6! 3A 3B 3C 3D 3E 3F 40 41 42 43 | BA BB BC BD BE BF C0 C1 C2 C3 !W6
I0!  :  ;  <  =  >  ?  @  A  B  C |  º  »  ¼  ½  ¾  ¿  À  Á    à !I1
--+-------------------------------+-------------------------------+--
W5! 44 45 46 47 48 49 4A 4B 4C 4D | C4 C5 C6 C7 C8 C9 CA CB CC CD !W5
I0!  D  E  F  G  H  I  J  K  L  M |  Ä  Å  Æ  Ç  È  É  Ê  Ë  Ì  Í !I1
--+-------------------------------+-------------------------------+--
W4! 4E 4F 50 51 52 53 54 55 56 57 | CE CF D0 D1 D2 D3 D4 D5 D6 D7 !W4
I0!  N  O  P  Q  R  S  T  U  V  W |  Π Ï  Р Ñ  Ò  Ó  Ô  Õ  Ö  × !I1
--+-------------------------------+-------------------------------+--
W3! 58 59 5A 5B 5C 5D 5E 5F 60 61 | D8 D9 DA DB DC DD DE DF E0 E1 !W3
I0!  X  Y  Z  [  \  ]  ^  _  `  a |  Ø  Ù  Ú  Û  Ü  Ý  Þ  ß  à  á !I1
--+-------------------------------+-------------------------------+--
W2! 62 63 64 65 66 67 68 69 6A 6B | E2 E3 E4 E5 E6 E7 E8 E9 EA EB !W2
I0!  b  c  d  e  f  g  h  i  j  k |  â  ã  ä  å  æ  ç  è  é  ê  ë !I1
--+-------------------------------+-------------------------------+--
W1! 6C 6D 6E 6F 70 71 72 73 74 75 | EC ED EE EF F0 F1 F2 F3 F4 F5 !W1
I0!  l  m  n  o  p  q  r  s  t  u |  ì  í  î  ï  ð  ñ  ò  ó  ô  õ !I1
==+===============================+===============================+==
  << 1  2  3  4  5  6  7  8  9  0 '  1  2  3  4  5  6  7  8  9  0 >>



Metadata quote:                                              
"4x5 numerics with 7 weights and 1 italic a.k.a. WI71"       
Not inspired by any other design,                            
             e.g. Abneurone's minimalist pixel experiments   
             (my very dotted 4x5 version may look like the 7x7
             "Deep Low 2" font he made on 2014 and 2017      
             - which includes a lot of duplicates            
             but is not limited to the numerics).            


NOT for commercial use:                  
fontstruct.com/fontstructions/show/1505214




2018   
0212 PNG
0320 TXT
dpla   
 

This typeface was concevied two years ago and later shelved. Thought that it was still worth finishing so here it is. It's another take on the square dot matrix style that I did with the MinSha typeface back in 2010.

The theme for this typeface is the word 'Filthy'. The letterform's structures are based on dust and the way it separates when a finger is dragged through it. Dust collects on objects that have been untouched for periods of time, often through neglect. The use of negative space and lack of border draws attention to the dot-work dust that forms around the accents of the letters. As a finger cleans dust, larger piles form where there is a change in direction. This helps identify the individual characters whilst keeping a minimalistic approach. This font can be used for headings and posters, or shop designs and logos. I have always felt this font would go well on a burger shack to help give a rustic or edgy look.