Latin caps from "fs ad".
See more: Pufff, Cless,
Peach SquaredThis is a clone of +220a
A monospaced 3x5 font used in Vidora15 and later programmable electronic displays made by AMFA Cybernetics (formerly "ATMA Robotronics").
This font is made with AMFA encoding in mind. As such, the character set is very limited and there are no glyphs which require NKRO>1 or buckybits (Alt, Ctrl, Fn, Shift, Strg, option keys, etc). The glyphs normally present at these codepoints have been reverted so that any text displayed in this font is also effectively displayed in AMFA encoding. The encoding has 48 possible glyphs (including one which doubles as both "null" and "new line") so there are 96 glyphs in this font overall.
Hope this saves you some work, Feng! :^)
Since this exact font and encoding scheme were used in other devices and software, some of which were (or had) games, I'm also tagging this with Game Recreations.
Original size: 4pt (use multiples of this size for pixel perfection)
MIV: h6.24 @ 1x / m8.35 @ 1x
Pixel demake of Arizone Unicase. Same glyphs as the original.
A space-esque design made for a friend! The angular counters give this a simplified geometry which makes it easy to read despite its looks. Works well for small- or large-scale applications - chat, terminals, logos, and more. Supports Dutch, English, and Greek!
The original was cloned off and preserved elsewhere. The version you see here has centered glyphs.
Font from the ingame marquee display of Barcade Brawl, a 2015 game by yours truly. This was made to look similar to the system fonts from old arcade boards, PC microsystems, etc. You've probably seen the fonts I'm talking about; they're everywhere and many people refer to them singularly as "the arcade font" or "the NES font".
This is 7x7 with no wasted matrix, but it looks better without monospacing since not every glyph is the same width. It also makes a decent terminal & chat font, at least for those who don't care about the case of the messages they read and write.
Feel free to use this in your games, etc.!
Original size: 5.25pt (use multiples of this size for pixel perfection)
I went and mangled Spelunker by Zephram. I am messing with the shapes of the spaces between the letters. The name of the font indicates that most of the letters are wearing bell bottoms.This is a clone of Spelunker
A dashed line design made with the new half-arc bricks. The emphasized spurs/stems and off-kilter geometry give it a quirky, almost handwritten quality. Its striped appearance makes me think of candy as well as the Cheshire Cat, thus the name. :D
I doubt the upper case would look as cute as the lower. So I've cloned all LC to UC to make this easier to use...
Do it: https://www.fontstruct.com/fontstructions/show/629119/ocd_disco_round
https://www.fontstruct.com/fontstructions/show/372247/ecdb_1This is a clone of Comicool
A rounded sans-serif design inspired by the lettering in comic books. Since achieving properly rounded terminals for slanted letters like A and V was impossible, I reworked their designs.
A 5x5 design expanded to 11x11. This gives it a cinematic marquee look.
A font made to reskin a particular roguelike game. This is made to look cold and slightly insidious. I accomplished this by using a 6x6 grid which, apart from being a slightly odd size, gives the forms asymmetry and makes their enclosed parts look as if they're squinting or sneering. Best seen on letters like ABKPRVY.
Monospacing helps give the whole thing regularity and reinforces the clinical/overly-serious feeling.
The game this is made for has very few ASCII glyphs. But, I will expand this to support all ASCII characters soon. I know many games (CDDA, DCSS, DF) support new tilesets so maybe I'll optimize this for those kinds of games...
See also: Nobody's Treasure
A font inspired by the use of eggplants in video games. Many video games have unexpected eggplants in them. This is FontStruct's unexpected eggplant.
I decided to fill in the lowercase to add some variety. Hit SHIFT for shiny glyphs.
See also: Spellforged Servitor
A fairly standard 5x5 design with a little added flair. The sort of text you might expect to see in fantasy maps and atlases.
Original size: 3.75pt (use multiples of this value for pixel perfection)
Chain stands for chain mail. I play RPGs and chain is a kind of armor. Heavy means that it is tightly interwoven.This is a clone
Work in progress …
Planning only to track down some bugs in the FontStructor, I was suddenly struck by similarities between the random shapes I was placing on the canvas and images I had stumbled upon recently on the web – I think it was in this article in the Guardian.
The images were of Peter Womersley’s modernist design for “High Sunderland”, fashion designer Bernat Klein’s erstwhile home, near Selkirk in Scotland. I wasn’t at first drawn to the modernism, but to the promised description of the experience of living in a house which was visually so open to the outside world – although ultimately the article wasn’t especially enlightening on that point. Later I found more extensive sources of images of the building on the web.
Working on this was the first time in quite a few years that I have been possessed by my own, earnest FontStructing rush. I was very pleased to find that the FontStructor tool still works as well and simply as it ever did – allowing for a uniquely swift and unimpeded creative progress through a set of modular glyphs.
The basic grid for each letter, based on the characteristic modules of the building, is topped by a slightly heavier bar and so slightly asymmetrical in the vertical, like the structure of High Sunderland itself, but it is essentially square and consists of six parallel horizontal bars.
In the FontStruction, the emphasis is on these crossbars – with every effort made to avoid partial horizontals and additional vertical lines, especially for the basic latin alphabet. The font is essentially unicase, with some variants in the lower case.
At one point I noticed that there are some window panels in High Sutherland which do have a single, thinner vertical divider (for sliding open presumably) so I used this for the middle legs of the M and W. After completing the initial FontStruction I also noticed in photographs of the building that there is at least one window with multiple vertical subdividers, so maybe that can form the basis for a new grid and a new FontStruction (High Sutherland B).
Things started to get fun for me when I got into the punctuation and accented letters. I saw no alternative to adding additional verticals for the hash, the percentage sign and some other glyphs.
I really like the percentage sign, although I’m not sure how legible it is – but I guess ultimately that it is an issue with the whole font.
When it came to glyphs with unavoidable diagonals – such as the slash glyphs – I went for a stepped approach, which I think is basically a good one, maintaining the emphasis on horizontal lines, and suggestive of musical notation – but the steps are a bit sloppy. I probably need to revisit them.
I’m not sure about applications for this FontStruction. Maybe it would be useful to someone intending to erect their own mid-modernist dwelling in the hills, or to someone planning to put up some new shelves!
A seriously spurless sans-serif. It approaches minimalism, but doesn't quite get there. This gives it a look that lets it blend in with lots of things!
It reminds me of a font I saw years ago on some futuristic-looking tinned rations. I don't remember what the brand was, but I remember the label having a very rounded sans-serif font like this one.
Stemless superminimal 2x2. It's small yet bold, much like Napoleon!
Mildly quirky serif font made for the signage/logos of a certain event. Limited character set.