Doodle doodle DOODLE!
The flaws which were previously evident in the counter shapes have been corrected. This design is now suitable for use at any legible size.
Small-grid doodle which creates new combinatorial forms.
I considered this design rather rough and unappealing until I gave it negative spacing. This caused the forms to merge together in unpredictable and interesting ways. The lesson here is that sometimes the metrics, not the aesthetics, are what "make" or "save" a design.
A small-grid font with character.
- No angles.
- Asymmetry should be present wherever feasible.
V0.2.6: Finished Cyrillic.
A small scale faux-bezier design with a cutout-esque look. It offers different advantages at different sizes. Most glyphs are legible down to 4pt.
As this design evolves, it gives me an increasing "board games" feeling. This design seems very well-suited for board game parts, especially cards and smaller plastic pieces.
This has a few notable design features:
- Asymmetry helps keep letters like bdpq from being confused for one another
- Serifs and flags accomplish the same thing for groups of similar letters such as ce and ftſ
- Semiserif style helps reduce the need for kerning to almost zero
- Simplified polygons and counter shapes help pixel optimization
See also:Cartoon Riot
Font with a "light rays"/stained-glass effect.
An avantgarde serif with a mild horror theme. It takes advantage of the properties of antialiasing/text smoothing algorithms to render a convincingly handmade aesthetic.
Making attractive, consistent, nonpixel serif designs at this grid size is quite a challenge. Making them look handmade is even moreso. I've tried that many times, but this design is the first such one I felt was truly usable. It doesn't quite look typewriter-esque, but blends well with other designs that are.
For this I used many different serif shapes, with each one depending on how the line it was attached to wanted to bend or terminate. This is in contrast to most other serif designs I've seen, in which the serifs themselves are more consistent in shape. I decided against faux-bezier curves for this, because they all looked way too polygonal. I think this is one of few cases where a rectangular O and S enhance the overall design rather than weakening it.
Version 1.1: Simplified the uppercase to improve readability and made the lowercase more stylish. Did some more kerning, as well.
Hey Guys It's Ya Boi Zeph Here Bringing Ya Another Font With Diamonds. Don't Forget To Like Comment And Subscribe!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Version 1.1: Improved several letters and numerals.
* WIP *
A double design in which an inner letter becomes the loop of an outer letter (best seen on "a"). I don't know how to finish it, and I might not figure that out for some time, so here it is. Feel free to take it further.
Experimenting with a new letter concept. This is not the final concept of course, but I developed this along the way, so I kept it.
For best results, use upper and lower case on seperate layers, then merge them together.
A design based on waffles and cheap lawnchairs - you know, the ones with woven plastic stretched over a tubular frame. "Awful Waffle" is a colloquial nickname for Waffle House.
Like many of my fonts, I'm just doodling and publishing this one to get the idea down. Maybe I'll continue it later.
An experimental design using 1/8 weight lines alongside 1/16 ones. The 1/8 lines are the smallest that can be accurately nudged. Centering them is still a problem at times, and I need a few impossible composites to perfect the glyphs ABEFHKQRXYijkx34789, but overall I'm quite fond of how this doodle turned out.
Here we have a font made from hand-polished hipsterite rocks found only in the depths of the River Styx. These are the most expensive and most pretentious rocks you can find anywhere. This font is their punishment for existing.
This is based on rounded rectangles, which have been the subject of a few conversations and in-jokes between friends. Because the rounded areas are rather small, this font needs to be a fairly large size to present the full effect.
A design with small caps... by which I mean the caps are lowercase :D
Well, I had to try it. :D
A font made so that both rows and columns of letters can run into each other and form a continuous chain.
An alternate take on Eyeball Kids which has more expressive eyes.
Making this has given me an idea for an ASCII Roguelike tileset wherein lowercase letters represent juvenile creatures and uppercase letters represent adult ones.This is a clone of Eyeball Kids
The new Eyeball Kids™ from Pixel Kitchen® are the best way to get your child interested in experimenting with eyeballs. Color 'em! Italicize 'em! Throw 'em into oncoming traffic! Abuse 'em all you want because EYEBALL KIDS ARE ETERNAL.*
! ! ! DO NOT FEED EYEBALL KIDS AFTER MIDNIGHT ! ! !
* - Eternal under normal use conditions. See the enclosed manual for terms.
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.
INGREDIENTS: Triangles, Distilled Water, Orange Juice, Citric Acid, Powdered Unicorn Horn, Metaphlogiston Clef-21 (to preserve optical clarity), Waifu Tears.
- - SHAKE BEFORE ENJOYING - -
KYOOOOB! The font CANNOT BE HALTED.
When I was in school, there were two things everyone was drawing: the "Cool S" and the 3D Cube.
I started doodling and ended up with this - a semimodular design that looks like a fusion of Coptic, Elder Futhark, Hebrew, and Latin. Arabic numerals included, of course!
A logo font for Zephtronix, the name used for my music electronics-related projects. This will be printed onto guitar pedals and maybe a synthesizer or two!
Just doodling with the Connect bricks!
Sometimes the stray particles connect to form new shapes, and sometimes they don't. I rather like the seeming randomness of this property, so maybe I won't standardize it after all.