do you want to write in Zulu, Xhosa, Wolof, Walser, Walloon, Vunjo, Vietnamese, Venda, Upper Sorbian, Turkmen, Turkish, Tswana, Tsonga, Teso, Tatar, Taroko, Tajik, Taita, Swiss German, Swedish, Swati, Swahili, Spanish, Southern Sotho, South Ndebele, Somali, Soga, Slovenian, Slovak, Sicilian, Shona, Shambala, Serbian, Sena, Scottish Gaelic, Sardinian, Sangu, Sango, Samburu, Sakha, Rwa, Russian, Rundi, Rombo, Romansh, Romanian, Portuguese, Polish, Ossetic, Oromo, Occitan, Nyankole, Nyanja, Norwegian Nynorsk, Norwegian Bokmål, Northern Sotho, Northern Sami, North Ndebele, Nama, Morisyen, Mongolian, Meru, Mapuche, Maori, Manx, Maltese, Malay, Malagasy, Makonde, Makhuwa-Meetto, Machame, Macedonian, Luyia, Luxembourgish, Luo, Lower Sorbian, Low German, Lojban, Lithuanian, Latvian, Kyrgyz, Kurdish, Kinyarwanda, Kikuyu, Kazakh, Kamba, Kalenjin, Kalaallisut, Kabuverdianu, Jola-Fonyi, Jju, Javanese, Italian, Irish, Interlingua, Indonesian, Inari Sami, Ido, Icelandic, Hungarian, Hebrew, Gusii, Greek, German, Georgian, Ganda, Galician, Friulian, French, Finnish, Filipino, Faroese, Estonian, Esperanto, Erzya, English, Embu, Danish, Czech, Croatian, Corsican, Cornish, Colognian, Chuvash, Chiga, Chechen, Cebuano, Catalan, Bulgarian, Bosnian, Bena, Bemba, Belarusian, Basque, Bashkir, Asu, Asturian, Armenian, Arabic, Albanian and Afrikaans in my horrible handwriting? no yeah me neither, but if you do

here you go

1226 characters for your displesure, it has georgian armenian cyrilic greek coptic and more latin then you will ever need

This font was last edited: 21:20 UTC 19. June 2020

I was looking for a localization friendly pixel font and could not find any that had good coverage and was not outrageously expensive ($700+) for commerical usage. Thats why I created "PixelLocale".

This font is intended to be reminiscent of the original Pokemon Red/Blue games. Too see how they differ check out this image: https://imgur.com/ixoYRtd

It was important to me to create a consistant looking font across scripts.

You can use it however you like, 100% free with no attribution. Lets make the world more accessible.

Coverage:
Latin characters (815/815),
Greek and Coptic (119/119),
Cyrillic (263/263),
Georgian (83/83)
Hebrew (86/86) (Fontstruct has poor support form Niqqud and Cantillation)
Bopomofo (37/37) (Need feedback)

I'd love to add more scritps. When I started my goal was to have every glyph supported by Fontstruct, but after learning that support for many asian scripts was limited I halted. If someone can shed some light on these limitations and how severe they are and for what scripts they apply, please let me know. I can be reached at "johste[at]chumpware[dot]com".

Anyways, i realized "MY FONTS SUCK!!", so...

Now i'm making this, to improve. Had to realize that writing the ABC's in it looks off, but as long as the word makes at least SOME sense, it looks pretty gooood in it.

I finally made a folded-/ribbon-style design. This one contains a number of experimental techniques. Most notably, the swept parts of glyphs are allowed to extend beyond the letterwidths and sometimes even the baselines. This enhances the sense of movement, creates some interesting linkages, and reduces the need for kerning.

All of these shapes can be constructed with paper or ribbon, although lots of clever folding tricks, doubling, and pinning down/securing with glue would be required.

Alternate tilde on "±".

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Chamadarya is an Integral Artifice (synthetic universe) I created for the ESOSVM simulation in 2013. It's a place dominated by vast stretches of open sky punctuated by extremely tall mesas and plateaus. Most of the buildings and temples there are made from chrysoberyl, which is extensively engraved, often with a lettering style that looks much like this. Of course, that language is non-Latin so it looks nothing like this design.

Third iteration of Tangereen with a bit of Paradoxy Effect. This one is rather fancy, so probably best used as a Display font.

The center portions of these glyphs make me think of sliced oranges and moon phases. They could act as cabochon settings, as well! So you could use these shapes to make jewelry set with a birthstone, monogrammed pendants/insignia, and so on.

A skeletal version of Modron March.

I use multiple text editors, and made this font to be an alternate font for Windows Notepad.

This was designed to be similar to Marengi Mk2, the font used in my FS Tutorials. Apart from using a smaller grid size, Eglantine achieves a closer line spacing through the use of short ascenders/descenders and the removal of the dots from i and j. It is also more condensed and optimized for speedreading, resulting in a font that is pleasant to read despite being quite small.

This design does have some wasted matrix, but this is necessary to achieve the desired effect. The global matrix is still only 7px tall, so this can still be used on most small canvasses.

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Original Size: 4.5pt

A filled-in Glitzfang! :D

A continuation of Tangereen. This version took a lot of figuring out and a lot of changes, both aesthetic and structural. I managed to make it different from other double-line designs like Glitzfang and Junglira while still keeping it simple and cute.

This is used in FS Tutorials, FS Idea Soup, FS Obscura, and most recently, AMFA's 3D printed parts.

A design that combines tropes from fantasy, sci-fi, and sports in a subtle and pixel-optimized way.

Structurally, this looks like a high-res version of Marengi Mk2. There are still plenty of differences between the two, but since they seem equally readable to me, I'm tagging this as a chat font.

A design that combines decolike asymmetry with a double line concept. It also incorporates some experimental methods to unify the wider glyphs (mw@#™, etc.) with the others, by allowing the middle sections of these letters to have both the single and double lines. This results in a look that is at times architectural and at other times almost like loopy cursive.

A design which uses two crosses in the counter shapes of most glyphs.

This started out as a pixel demake of "Refollte", but was then metamorphosed into another high-res design.

The binary version of each symbol turned vertically.

Not all symbols could be added because they have more than 8 bits of data.

Obviously not very readable, but good for decoration.

A font which uses some custom macaroni bricks. This one has the same kind of structural asymmetry as Phenomenologist. Angles and corners on the left are almost always sharper than those on the right, which gives glyphs a structural asymmetry as well as a sense of rightward momentum. This technique also imparts variation to some otherwise very similar letterforms (bdpq, mw, sz).

This is named for a species of android from Doctor Who.

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Other design decisions:

- Make the ascender height shorter than the uppercase

- Use squares for dots/diaresis and circles for punctuation, so that they are more quickly distinguished

- Allow the sharp curve and gentle curve to swap positions when it's beneficial to the glyph (BX8&)

- Incorporate angled lines into several glyphs so that none of the glyphs which have them seem out of place (SZsz012569*~$)

- Ignore the other design decisions for glyphs which need a standardized look due to their use in programming and other syntax-based forms of writing (most symbols & punctuation)

Version 1.1: Improved gy&Ѐ.

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A greatly condensed Modron March.

Iteration 4: Basic Latin kerning finished.

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DOODLE DOODLE DOODLE!

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Design Rules:

1. Letters with spurs will have the spur begin at the baseline. This provides the distinctive "high heeled" look.

2. Any letter whose traditional design has a straight vertical line on its left side will keep the line, no matter how the lines of the actual letter travel.

Hello I am Primus and these are my modrons

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This font dwells at several borderlines: Effect, Pseudo3D, and at times IVO. It is not really any of these, but with the right presentation, it looks like it is.

A quirky Pseudostencil design with a central horizontal slot going through it. The "slot" is 1 brick tall for lowercase and 2 for uppercase, and becomes a vertical slot for numerals and certain symbols.

This is named for the cowboy and lasagna emojis. These were repeatedly added to then removed from several popular chat clients and websites. Changing emoji standardization or government conspiracy? YOU DECIDE.

Asymmetrical alien techno stencil.

This uses some experimental techniques, of course, but I'm not sure how to concisely explain those. Let's just say that each type of line bend and line connection has a rule associated with it. These get naturally modified by the structural asymmetry the font has so that simple rules appear in many forms and variations.

A stemless and spurless Eviolite. It has a "utilitarian" look which I enjoy.

A vaguely Courierlike OSD (Onscreen Display) font which tries its best to be casual. The name is inspired by the old computer joke: "Who is General Failure and why is he reading my hard disk?"

No filters or faux-beziers, just stock bricks and a bit of stacking/nudging!

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More about the design:

It started as a doodle and an attempt to make a smooth, low-resolution, low-poly font, and then it became a Courierlike. I have other fonts that tried to do polygonal round shapes before this (such as Cartoon Riot) but this design is my first real success in this area.

Initially, I made the angled glyphs before the round ones. I didn't want to change the angled ones, so glyphs like C, O, and Q became a bit wider than they are tall. I'm quite fond of this, because in most designs these glyphs tend to have a tall and narrow character. I think the mildly squat look of this font makes it cuter and gives it more personality.

A lot of glyphs were altered in specific ways to look more like metal type, especially anything with diacritics which touch the letters themselves. Other glyphs were altered specifically to be interpretable at small size. I also use angled contours and actual round bricks alongside each other within the same glyphs, another technique which is geared toward style and interpretability at small size.

This font came with many new challenges and an array of new techniques had to be designed. Loops were an insurmountable challenge because of the low resolution and heavy line weight, so I drew rounded areas to suggest them. You can see it on letters like Greek γ, ζ, and ξ.

Formerly known as "Specula".

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By request, a font with the two-toned look of a Pokéball. No filters! The Pokédollar sign can be found on "¢" and a Pokéball is on "•".

"Eviolite" is an item that powers up the defenses of Pokémon that are not fully evolved. Looks like a lavender-colored gem.

Version 1.5: Added Greek and made many refinements. Also came up with a new tilde design for all the glyphs that have one.

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By request, a casual art deco design.

Version 1.2

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This font has everything Zeph-y. Decolike shapes, half-arcs, procedural asymmetry, slight gaudiness, and an ampersand that looks like a priest with a cross walking on the ocean waves.

A slightly leafy engraving-style Decolike.

A decolike pixel font made for friends at Marinan Research Division.

It reminds me of the fonts used by old cellphones, except bigger and with more line width variation.

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Original size: 8.25pt

A variant of Marrada with more angles.

Usually with designs I try to make every part look like it "belongs" with the others as opposed to trying to make each part look its best. With Marrada, I struck a balance between the two. Q1@*&{} are probably the best examples of this sort of balance...

A combination of many small disparate elements. Like "Space Wham" it tries to harmonize angles and curves, but it does it by letting complementary glyphs have them as opposed to using them both in a given glyph. I broke this rule to make "Marrada Angle", though.

Version 1.1: Added Polish.

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A combination of deco, sci-fi and modern elements.

This was made to be a compact subheader font and to be used alongside fonts such as "Badwolf". In fact the original name of this font was "Chibi Wolfclan".

Version 1.2: Added Greek and Polish.

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An attempt to do large rounded shapes using only the stock FS bricks.

A continuation of ideas in Candylander Plain. Half-arcs couple with short ascenders and descenders to make this.

Version 1.3: Added Polish.

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Another asymmetrical sans-serif made for use in rulebooks for the Freeform Limitless Adventure Kit (FLAK) pen-and-paper game system. This one is classed as a hybrid and works well at all point sizes!

It began as a Constant Height design, but now I don't classify it as such since most of the letters with diacritics are taller than those without. A few letters (eszett, thorn, eta, etc.) are allowed to descend slightly, as well.

This font has also found some use on signage at a friend's bistro!