My attempt at a (more than) 7-segment display.

This is the default font for TI-nspire Ndless. I used nTxt to type out the letters and copy them onto here. The unsupported characters (that might be supported but I can't type them) I just left blank.

A 7x5 matrix font.

A smoothed 5x3 matrix font.

A Generic Pixel Font

This pixel-art-style font supports almost all latin characters, many greek characters and the capital cyrillic characters. It is also meant to be used with my reformed spelling system.

Kubasta is a monospaced pixel font based on a 5 × 7 grid. It was designed with readability in mind, the glyphs are easily distinguishable from one another and legible even in small sizes. It’s perfectly applicable for retro style interfaces and games.

An earlier version was created with BitFontMaker2 in 2014 and published on GitHub.

Kubasta was used in Beat Cop by Pixel Crow.

Relive your retro pixelated font dreams with Retro Pixelon! Ready to use for Russian, English, Polish, French, Spanish, German and many more!

Contains sets: Basic Latin (fully), More Latin (almost fully), Extended Latin A (fully), Cyrillic (for Russian).

Fontacious: A blending of the words font and delicious. And a.k.a., Fontatious, which blends the words font and ostentatious. It's all good and pronounced the same, no matter how you spell it. Enjoy.

A little pixel font made with zero experience in less than 15 minutes. Enjoy.

If you think it could help you, I tried to put it under the most liberal license so you can freely use it or edit it for your personal and commercial projects. Don't feel the need to credit me.

I designed this 16x16 pixel font to facilitate texturing and dithering for pixel artists. Not every piece of art software has tools designed for texturing/dithering, and loading lots of custom brushes for the purpose can slow one's software down. This font was made to attempt to solve the problem. Now you can dither, shade, and texture by typing! Every glyph repeats as a seamless texture both horizontally and vertically.

The name comes from my emulator/game, "Virtua Gremlin". Although these patterns weren't in the game (it used 9x9 tiles, not 16x16), many of the patterns here are based on that earlier work. "Skins" is a reference to graphical skins, of course. :D

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USAGE GUIDE

A-Z = textures

a-z = dithering/shading patterns

0-9 = scanlines

The rest is sort of a mishmash... I'll organize it better once I have enough glyphs to warrant a good classification system...

Have an idea for a pattern? Want to see a particular sprite or aesthetic included? Let me know :D

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Original size: 12pt (use multiples of this value for pixel perfection)

Tip: View this in the Character Map so you can more easily grab and paste glyphs when designing!

See also: Gremlin Skins HD

The font used in Super Mario 64 when speaking to people or reading signs. These characters are mostly derived from the game and used to recreate the font. Glyphs such as the asterisk and curly bracket are made with modified or existing characters used in-game (star instead of asterisk, curly bracket made from parenthesis, etc.)

Just a crazy font I made for no reason. Based on nothing. You could use it for a videogame highscore. Just do whatever you want to do with it.

The theme of this font is thunderous. Thunder is the sound that lightning makes; therefore, thunder does not happen without lightning. I combined these two together, focusing on ideas such as sounds waves, sharp/smooth lines, size of my letters (big and small), and fleetingness as thunder comes and goes. I want it to have a lot of variety as you never know what to expect from thunder.

My font theme is systematic, I aimed to make a font that was precise and but also referenced technology in the patterns of a motherboard and the pixelated style. The dots also help form the illusion of curves.

My font was inspired by the way pixels have been used by other designers in the late 20th century, in particular, Peter Saville’s Original die-cut sleeve album cover for New Order’s Blue Monday single, Wim Crowel’s new alphabet used by Brett Wickens in Joy Division’s compilation album Substance cover. The font was modeled on digitalized letters. To produce it I have used techniques from traditional calligraphy (drawing, use of pencil and ink on paper) to create an effect usually generate instantaneously by computer coding in order to stress the tension between the finished piece and the production behind it. The tension between the two and the uncertainty are represented in the font by the missing and misplaced pixels in each letter.

My first fontstruction. A pixelated alphabet with all the symbols permited by FontStruct. Can be cloned but credits always to trubiso.

A modification of the font used in Five Nights at Freddy's.

This monospace font was first created in paint using only the smallest possible grid (3x3), with wich every common glyph can (recognisable) be drawn. In this font not every glyph can be deciphered on its own. But on a second glance you shoud easily be able to read a word, phrase or a sentence.

 FOR SOME STRANGE REASON THERE SEEMS TO BE AN INORDINATE INTEREST IN PIXEL FONTS FROM THE 1970'S AND 80'S. OK, ITS FUN FOR YOUNGER TYPOGRAPHERS TO WORK WITHIN STRICT RESTRICTIONS RECREATING FONTS THAT WERE DESIGNED YEARS AGO, LETS BE FAIR, THERE ARE ONLY SO MANY COMBINATIONS OF PIXLES WITHIN A 6X6 GRID.
 WHAT DOES SUPPRISE ME IS THAT NO ONE HAS LOOKED BACK AT THE FIRST (I THINK) HOME COMPUTER, NAMELY THE ZX81 WHICH WAS RELEASED BY CLIVE SINCLAIR, AN ENGLISH ELECTRONICS CO. IN 1981. IT HAD 1 KB OF RAM (NO JOKE), 8 KB OF ROM AND A CPU THAT RAN AT AN AMAZING 3.25 MHZ. DATA WAS STORED ON CASSETTE TAPES AND THE SCREEN WAS YOUR TELEVISION.
 AS NO ONE HAS CHECKED OUT THE ZX81 I HAVE MADE A FONT THAT IS SIMILAR TO THE ORIGINAL FONT USED BY THE COMPUTER. I HAVE USED 5 BRICKS WHERE AS THE ORIGINAL USED ONLY 1. BEAT THAT!