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. I'll try Cyrillic for the next version once I work out how to make Cyrillic that is both accurate and in keeping with this design.

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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!

Continuing on the theme of overzealously antialiased pixel fonts, here's a 3x5 no-wasted-matrix design. The shading enabled me to make many glyphs which normally need to be truncated or compressed (MWaemswz@«©»®, etc). Looks best at 2x Pixel size!

This gives me an "old newspaper" feeling and seems like the kind of font that would be used for the text of such newspapers in old adventure games.

Unfortunately, I could not get the shading effect to work in any graphics software except by turning antialiasing on, and this ruins the look. So if you want to render text in this font, I recommend going to View -> User Input, typing your text here on this page, and then screen capturing it...

Experimental sliced sans serif. My goal here was to make a design which would result in an extremely compact and durable physical stencil. Almost all of the sharp points and acute angles are within the negative space, so it should be easy and very safe to make, handle and work with this stencil.

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Version History

1.3 - added More Latin and Google Fonts Basic bands.

1.2 - added uppercase, changed name to "Aegris Stencil".

1.1 - edited for more readability at small size. Glyphs with enclosed loops were altered so that the "movement" of the segments always runs clockwise.

1.0 - released.

Version 1.1: Several glyphs (BKMRWXkmwx38&{}µÆæß³Œœ™) were edited for readability and þ was edited to distinguish it from Þ.

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A font made for a friend's board game!

This gives me a strong "film credits" feeling with its high impact and simple geometry. 

Trying this style out. The name comes from a monster in the game NetHack.

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See also:Gridlarva

Just a little project I worked on while rendering
Has a sort of Undertale vibe now that I look at it

Pixel demake of Goud. This is easily the best Goud for body text, as it remains crisp at all sizes!

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Original size: 9pt (use multiples of this value for pixel perfection)

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.

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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 I put on the side of the Sheepslayer Mk.2, a flying dragon car piloted by Lyll "Hatch" Soretti in my game Seven Candles.

Original size: 15pt

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A font which has a spurless, sans-serif, pixelated polygonal look which is somewhat reminescent of fonts used in VHS technology.

A lot of applied science has gone and continues to go into this design. It's designed to remain legible on all media in all use conditions, provided that one uses the original size or a multiple thereof. 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 and voxel 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 all have traits which degrade, distort, compress, glitch, or otherwise alter imagery in various ways. This design aims to minimize the loss of legibility from these effects and to attain the best scores possible in various forms of imagery analysis. So far, this 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 - 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.

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.

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VERSION HISTORY:

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.

1.0.5 - Experimentally converted to a rounded spurless design, then converted back to a plain spurless after testing. A few new ligatures were added.

1.0.6 - Cyrillic and Greek enter development. Many of these letters must be altered to be distinct from their Latin counterparts.

1.0.7 - Some spacing values changed to increase internal consistency. More difficult tests are being devised. However, since only I seem interested in this type of work, this project is going on hiatus for some time.

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See also: AMFA, a font built with similar considerations in mind

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!

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Original size: 21pt (use multiples of this size for pixel perfection)

Version 1.4: All permutations of e, G and K were refined and improved. Added Coptic and Cyrillic. Completed most of Extended Latin B.

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A modernized, rounded, and truncated version of Marengi. This is made to be a good text editor/chat font. It has very few kerning pairs, so it should render fine in any software.

Ascenders are only allowed to be as tall as the uppercase/numerals, while descenders are allowed to go 2px below the line. This creates a natural line spacing that is readable and not too dense. (Diacritics break this rule, of course... darn them...)

Gone are the curved descenders/termini on letters like gjty. The simpler geometry makes this design more suited to speedreading than its predecessor. In fact, altering those four letters alone improves speedreading on this font by up to 14%!

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MIV: 8.25

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

Version 1.5

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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.

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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!

A medium-res pixel font I designed in 2017 for printing the text of "The Story of Book" (TSoB), a tale which began life as an imaginary joke story and then was actually committed to paper.

TSoB is woven from my and my friends' whims, flights of fancy, in-jokes, and intentional idiocy, as well as contributions from several AIs. The resulting story changes tone, style, mood, and context at seeming random, and is subversive toward its media and reader beyond insufferability. All this was done just to make Trap Farmer Brer Brah slightly more interesting to the very few people who will ever bother to get and read The Story of Book in-game. So this font is based on an Easter egg.

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!

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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

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Design Rules:

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.

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Original size: 20.75pt (use multiples of this value for pixel perfection)

Version 2.6

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Inspired by a comment by jonrgrover.

I built diamonds sized according to the Fibonacci series, then made a segmented display out of them. The design was then carved away and modified to make the glyphs you see here. I used the members 1, 2, 3, 5, and 8. These sizes proved most feasible to work with in this sort of arrangement.

I gave the terminals a flared appearance which I think makes the glyphs look slightly Celtic. The design also makes me think of beach sand and things found on the beach - shells, pretty rocks, and so on.

Over time, this design has fairly well solidified itself as my favorite. I don't get to use it much, though!

An experiment in subtle asymmetry (it's most evident in the upper case).

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Version 1.7 (14Sep2018) - ExtL-A added, GFB completed, Greek started

Version 1.6 (18Aug2018) - Changed name from "RC Badwolf" to "Badwolf"

Version 1.5 (15Aug2018) - altered 2357,ð

Version 1.4 (14Aug2018) - altered space width and mw

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See also:Navajo Deco

A fusion between Roman-style text and pixel art - the sort of font that might have existed in old 80s font software. It's fairly wide and verbose and is something of a colossus among pixel fonts.

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Original size: 13pt (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 design with long ascenders and descenders, even on letters that don't normally have them. Good for "old book" text in video games.

This is used in ESOSVM for most text which occurs while the player is in the dimension "Ladede", thus the name. Ladede has a canon, cosmology, and eventing which are seeded by in-jokes relating to roguelike games, especially Dungeon Crawl: Stone Soup. A font like this, in that context, is meant to be elegant but also mocking. This makes it seem subtly adversarial, as roguelike game elements are wont to do, and helps let the players know that they are in a bad, screwed-up place that they are unlikely to understand.

Bookish pixel font designed for general reading. Made for use in my own future web designs.

Stylized 5x5 pixel font. Tiny but power-packed!

I designed it to have a slightly balloon-esque, oldschool arcade look. Feel free to use it in your games.

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Original size: 7.5pt (use multiples of this value for pixel perfection)

I made a blocky, industrial sort of style, then added art deco-style line width variation. Then, a couple of tech lines here, a couple of details there, and SHAZAM! We get these 1950's-era raygun-toting space race zippity zap letters. It's a font Marvin the Martian might use...

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Original size: 7px (use multiples of this value for pixel perfection)