The main language seen in the videogame Stray, used by the robots as communication. However it's more of a cipher than a proper language. Therefore it can be transformed into a font/typeface for people to use.
Glyphs:
98
Version History:
9/5/2022 - First Release, only basic latin.
Original typeface credit given to developers of the game Stray, I only take credit for the portions added onto the already existing typeface.
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 way down as well. This font was made to attempt to solve these problems. 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
This font explores the theme of anger. I took inspiration from heavy metal/rock album covers and tried to recreate the same irregular/jarring lettering they do. To do this I painted letters quickly on varying sizes of paper and translated this onto fontstruct to get a rough/rushed look.
My first fontstruction was inspired by Eastern Art at the Bristol Museum and Art Gallery. I loved the dragon decoration on the old ceramic pots in this section and have tried to portray a similar theme in my letters. (work in progress)
Inspired by fountain-based architecture, I've created my first fontstruction for the start of my UWE Graphic Design course. For this, I poured water onto different surfaces/objects with varying shapes to capture the cascading effect as reference images. Originally, I was first inspired by watercolour strokes to make a gradient effect, which developed into the idea of water fountains used in contemporary architecture.
Working under the theme of 'Rebirth', I have focused my first font on the idea of post-war architecture, or otherwise commonly known as modernist/brutalist architecture. Buildings constructed following the Second World War were built using new technologies of construction. These types of designs were known for their use of modern materials such as concrete and steel as well as their interesting geometrical forms. I was heavily influenced by the architecture featured in Owen Hopkins' book 'Lost Futures' which looks at the disappearing architecture of post-war Britain and how changing external contexts played a role in the subsequent destruction of these buildings.
Clone of PIXELA CYR featuring some changes of the Cyrillic letters along with even more additional (extra) characters for Cyrillic and Latin. Note: it's a work-in-progress... more letters will be added in the future... this typeset may also receive a slightly differing derivative one day... EDIT1: I added support for the Finnish letters "å (Å)", "ä (Ä)" and "ö (Ö)".
This is a clone of PIXELA CYRZakhrafa is a type of Islamic art which consists of embellished geometric designs. It is often used to complement Arabic calligraphy on architecture to bookcovers and various media. The inspiration of this font comes from the various Islamic patterns that can be seen on buildings all across Qatar. After living there for 8 years, I learned a lot about the Islamic culture which is what I want the font to reflect.
This is a cloneThis font originates from the adjective 'Energetic'. It's stable centre and shakey outer layer represents the effect of consuming copious amounts of energy stimulating substances, usually resulting in a case of Caffeine Jitters.
This font was created using a systm that randomly generated angles to score through the letters. This creates the effect that the letters have been randomly shattered, yet each cut is planned out one by one.
Naples WIP
UPPER CASE ONLY
My typeface has been created in line with the theme ‘dangerous’. From my chosen theme I explored the idea of sharp edges (blades/swords/razor) and decided to create a serifed typeface in which the serifs are extended or curved into a point to mimic the shape of a blade/sword/knife. I chose ‘Naples’ (“Italy’s capital of crime”) as the name due to its historical reputation as a dangerous city and it's links to the Camorra.
Any feedback and criticism would be appreciated as the font is a work in progress (WIP).
The industrial revolution gave rise to mass manufacturing; whereby machinery replaced humans, and production snowballed. Textiles were being produced at a rapid speed and in vast quantity, and it was also a pivotal time for print - with the fist linotype machine being invented at around 1883. Mechanised printing meant that newspapers' expansion paralleled the rising population. 'Strength' is a typeface inspired by the widespread industrialisation. The sans serif and square letterforms are a reference to the vast number of red brick factories being erected - the square shape of the font mirroring the literal building blocks.
BRAIN POWER
This type face was inspired by the word "energetic", the optical illusion theme deceives the eye and appears to be bend and curved in areas. The energy comes from the deception your brain; the longer you stare, the more you see. I studied mazes and other opticall illusions before coming to this outcome, shading was important as it makes the letters more realistic and 3 dimentional.
This is a cloneThis is my first FontStruction while currently studying graphic design at Bristol UWE. This font was born from the theme of ‘hope’ and that we are hopefull for the future. I looked at lots of different material for insperation, inculding film posters, furteristic clothing and computer games.
Based on the theme of rebirth, ‘Fill in the blanks’ draws inspiration from the Renaissance era. Looking at the original printing press, traditional blackletter and Renaissance calligraphy, ‘Fill in the blanks’ offers a modern twist on some of the oldest typefaces to date. By looking at the brush strokes of blackletter and the serifs used in the printing press typefaces, this font is a combination of these characteristics. By using just these features the human eye can still recognise the letter form, essentially allowing your mind to ‘Fill in the blanks.’
We live in a world controlled by technology. As a creative professional I rely on tech to perform my primary business activities, whilst I am extremely pro-technology, I also recognise the negative impacts it has on society.
The theme for this project is ‘Dangerous’.
Please feel free to use this font as you wish, I would appreciate being told in advance as I love to see my work in use.
Ed Garrett / edgarrett1982@gmail.com
Inspired by George Orwell's '1984', the Dystematic font largely revolves around the concepts of societal collapse and dystopia. The hybrid of the words 'dystopia' and 'systematic' hint at the notion of overcivilisation leading to systemic collapse. The imagery within the type suggest broken buildings with revealed scaffolding/foundations which was inspired by concept art pieces of post-apocalyptic societies. The subject of systematic futility can be largely relative to the political and socioeconomic polarity we are currently seeing in the UK and the US.
Using the word Lurid as the basis for my development, the concept behind this font comes from things that are visually disturbing to look at. The idea to make a font that looks like it is dripping comes from the imagery I found in my research into Heavy Metal logos. The Halftone Gradient effect I decided to use was inspired from my experimentation in fontstruct with trypophobia, the fear of looking at small tightly packed holes, leading me to create my font out of black dots.
This font draws it's main inspiration from David Carson's typographic work. it was created using instinct as there were no set rules and regulations for each letter. The style is unconventional and unpredictable. Jamie Reid created a lot of typographic pieces using magazine cutouts which is something I also wanted to replicate in this font.
I based this tyepface on the theme of 'Systematic'. Each letter was constructed based on a certain set of rules and was later altered. It is named after my previous attempt to create this font that was too big to save on fontstruct.
This is my first FontStruction while currently studying graphic design at Bristol UWE. This font was born from the theme of ‘hope’ and that we are hopefull for the future. I looked at lots of different material for insperation, inculding film posters, furteristic clothing and computer games. I developed the high contrast version after the standard weight, after being inspired by a font called ‘Noe Display’.
Donjon16: My take on a dungeon font. Create your layout with A-Z, move the caret to right after the room you want to edit, then type the letter for a trap, monster, and/or object and it will appear in that room. You can stack multiple smaller creatures or objects inside a room.
When one room's opening runs into another's wall, it makes a distinctive notch in the wall. I consider these to be closed or secret doors, but your design doesn't have to have them. :^)
Only the smaller monsters/items can fit into the corridors. However, you can fit up to three of the smaller monsters into a single corridor (5 if you use the 4-way corridor)!
This was actually designed to make minimap graphics for one of my games, and derives some inspiration from the maps in early Zelda games (The Legend of Zelda, The Adventure of Link, Link's Awakening, Link to the Past, etc.).
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- ROOMS & MAP SYMBOLS -
ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÐÑÒÓÔÕ = floor number markers (B7 to F16)
×ØÙÚ = compass markers (North, East, West, South)
ABCDEFGHIJKLMNOP = 16x16 rooms
RSTUVW = corridors
space bar = empty voids
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- PLACEABLE THINGS -
(These all have a negative spacing, so they must be typed AFTER the room you want to put them in.)
X = teleporter or Magic Stone
YZ = stairs up/down (They take up the entire room)
0123456789 = traps & hazards - spike trap, pit trap, ice trap, trapdoor trap, teleport trap, arrow/dart trap, etc. (They can overlap monsters; use some discretion)
abcde,fghij,klmn = small monsters - kobolds/goblins, humanoids/skeletons, slimes (They appear in a cross or X shaped grid, max 5 per room, 9 if you use them together)
opqr,stuv = medium monsters - skulls, bats/imps (They appear in corners, max 4 per room)
wxyz = big monsters - knight, dragon, serpent, big skull (They take up the entire room)
!@#$%^&*()[]{}\|<>?/:';" = equipment - weapons, armor, potions, maps/scrolls, runes, compass, and more (Usually takes up a whole room)
`~_=-+ = gold, gems, key, chests (Usually takes up a whole room)
àáâãäåæçèéêëìíîïðñòóôõö÷ = special characters (NOT YET IMPLEMENTED)
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- TIPS -
Make the dungeon layout first, THEN start adding things to it.
Better to have a treasure vault guarded by monsters in the next room than to try to cram them all into the same room. The same holds true with many traps.
If you use the floor number markers, you can have up to 23 floors in all - 7 below-ground and 16 above-ground.
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This font was designed around the theme word Elegant. I was inspired to create a typeface that was ornate and palatial; it is a ode to Baroque design.
I have tried to emulate columns for the body of the font and created a crowned frieze for some of the letters with decorative toppers for the remaining characters.
My first fontstruction, created for a project at UWE for the theme "squishy". I was inspired by the consistency of food products, especially bubblegum. To create these letters, I created 3D bubblegum letters by chewing and stretching the gum and sticking it on paper. I based this font off these 3D letters. It looks better zoomed out. I hope you like it!
This font is inspired by the people that rebel, protest and defy our political stances. Taken from the word ‘unstable’ this font aims to convey a sense of political instability. Using the imagery and typefaces created from protest banners I created ‘f*ck boris’ whilst encompassing iconic rebellion symbols used throughout our history.
This display font was created with the rising sea levels in mind; as David Wallace-Wells says: "Miami and Bangladesh will not survive". It is too late for them. The font is a bold display sans serif with the intention to be used in combination with messages about global warming and rising sea levels. The letters contain structures intended for people which have been submerged underwater, the reality of Atlantis that we will face in the next few years.