Based on Damien Guard's Amstrad PCW font but redrawn with narrow, rectangular pixels to look more like the PCW's display. (No doubt there's some clever thing you can do to redraw them automatically, but that's too advanced for me, and I did them all by hand!)
BTW I'm still not happy with the accented letters. IIRC the PCW reduced the size of the letters on screen to fit the accents in their 8x8 grid. I might try doing a version like that at some point.
This is a clone of Amstrad PCWNarrowed version of Bytogryph code. More suitable for coding.
This is a clone of Bytogryph CodeThe Bit-Config font series is inspired by the Lucida font family.
This specific font is inspired by Lucida Bright.
Context:
An average 5x7 pixel slab-serif font. Originally meant to be a replacement/alternative for other Pixel Optimzed slab-serif fonts, Times New Roman in particular.
This is a clone of Bit-Config SansI don't fucking know anymore!
This is a clone of EK Sonikku NRThis typeface was designed as a response to the shift towards Online and Digital Communications that communities practice in modern society. Since the emergence Internet, people has more frequently resulted to email, messaging and other online connections as a means of communicating with each other as supposed to speaking directly in person.
This has limited the power of communication and removed many organic aspects of conversation. I feel this is particularly prevalent today as a result of the Covid pandemic and as people continue to feel more isolated, we loose the important subtleties in the way we discuss and exchange.
The character’s design was based off fonts like CMC7, MICR E13-B, CRT Screen Typography, the works of Gerard Unger, Wim Crouwel and other pieces of design created for the exchange of digital information between machines.
Theo D'Cruz 2020
Just in case anybody wanted a small, serifed, pixel-sharp font with personality and figure (old-style) numerals, I whipped this up... then overachieved, perhaps. It has full Latin-1 and Latin Extended-A support, extended punctuation, most Greek, and as much Cyrillic as I could justify working on. It also has some Roman numerals, many arrows, and a few other random things.
If anyone out there actually wishes to use this for setting anything with Greek or Cyrillic alphabets, please let me know if I've made any terrible errors or if more characters are desired. I know better than to trust my typographical sense for alphabets I don't use in an actual language context!
By request, a small, sporty, polygonal, uppercase serif font. The name is inspired by Hammer from Castlevania: Aria of Sorrow. This is quirky, strong, and from nowhere - just like Hammer.
This design seems best for signage, woodcuts, and the like. It carries a bit of a "sports" look too. The numerals and symbols are sans serif to make them look more modern. The asterisk is a hammer. Is it Hammer's hammer or Hammer's brother (who is a hammered Hammer Brother)'s hammer? No one knows.
By request, a semimodular font which looks like a casual interpretation of "General Failure". This is also more condensed and more Pixel Optimized than its predecessor. It makes me think "fire station in a cartoon".
It uses a technique which folds some slabs in, which prevents slabs from altering the heights of letters - but slabs are still allowed to alter width to some extent. The slabs which do this are incorporated into glyphs' structures to such an extent that they are integral parts of the linework.
This could be kerned more closely, but like me, the requestor uses software which doesn't support kerning. Consider the spacing as part of the desired quirkiness.
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.
Xilla Pro Regular, part of the Xilla family.
Other weights are on my profile.
Pixel slab serif typeface in 3 weights with italicised variants. Inspired loosely by Zilla, the Google open source font. This is type is twice the scale of Xilla.
Further work and links here: willalbinclark.com.
Xilla Pro Regular Italic, part of the Xilla family.
Other weights are on my profile.
Pixel slab serif typeface in 3 weights with italicised variants. Inspired loosely by Zilla, the Google open source font. This is type is twice the scale of Xilla.
Further work and links here: willalbinclark.com.
This is a clone of Xilla Pro