FORWARD- I wanted to create a font in which felt like it had movement. I also wanted it to relate to codeing and glitching, so it had a technical feel. This font connects together, even when re-arranged. This was put in place to lead the viewer through the text so that they felt they were being lead into a digital world. I wanted This Font to be Energetic and hectic, and i feel like ive done this with the use of smaller pixels breaking up the thicker and more readable lettering. 

Will aim to do more latin characters

Another font Inspired by a Lumines Song.

You're In The House!

Recap of a retro computer type lettering that appeared throughout the 70's and 80's as the word "data" on various brochures, envelopes and memo's by Dutch multinational human resource consulting firm Randstad.  Most of which I guess were designed by Ben Bos.

My second font which supports many languages.

Original size: 15pt

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A font which has a spurless, sans-serif, pixelated polygonal look which is reminescent of VHS technology.

A lot of applied science has gone and continues to go into this design. It's designed to remain legible on all platforms in all use conditions, provided that one uses the original size or larger. Numerous technologies and mediums are being employed to realize this objective.

"Diaspora" is now being tested and refined for use with/on/against:
     • CRT, LCD & e-Ink screens
     • image formats & compressed imagery (GIF, JPG)
     • printers (inkjet, bubble jet, laserjet, & thermal)
     • analog video & multi-generational copies (VHS, Super 8)
     • digital video (AVI, MP4, MPEG, WEBM, WMV)
     • 3D models (Blender, MagicaVoxel, POV-Ray)
     • dynamic scaling hardware (game consoles and capture devices)
     • imagery plugins & filters, including image degraders
     • image scaling/interpolation hardware & software
     • image recognition hardware & software

These all have traits which degrade, distort, compress, glitch, or otherwise alter imagery in various ways. This design aims to minimize the loss of legibility from these effects and to attain the best scores possible in various forms of imagery analysis. So far, this has proved extremely useful, as it can remain fully legible even when extreme JPG or video compression are applied to it thousands of times.

A piece software I helped write, called the Marinan Imagery Deconstruction AI System (MIDAS), is being used on captured images of this font. The end objective is to realize the design which has the best all-around Marinan Interpretability Value (MIV) for all the tested platforms - the design which is considered by MIDAS to be the most legible in the most media under the broadest range of use conditions and quality levels.

MIDAS uses a set of considerations made with both humans and computers in mind, so a high MIV does not necessarily equal a better font - it just means one that the system thinks is easier to visually interpret. Note the use of the phrase "visually interpret" as opposed to "read". MIDAS tries to determine how well people and computers can tell what shapes are, not how much enjoyment they'll get from reading or how much strain they might undergo while doing it.

This same font was tried in a high-res format, but didn't perform nearly as well. This design is made with the medium of its creation in mind and a high-res version would need to make many changes to compete.

If I had a budget, I'd build a website and make a competition out of these ideas... still, if you make fonts that are designed to perform like this, I'd love to talk about them.

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VERSION HISTORY:

1.0.0 - initial release.

1.0.1 - More Latin support added.

1.0.2 - First batch of tests run.

1.0.3 - gjy5&ßẞ were improved, some glyphs added.

1.0.4 - Second batch of tests run. Space width reduced.

1.0.5 - Experimentally converted to a rounded spurless design, then converted back to a plain spurless after testing. A few new ligatures were added.

1.0.6 - Cyrillic and Greek enter development. Many of these letters must be altered to be distinct from their Latin counterparts...

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See also: AMFA, a font built with similar considerations in mind

A rounded simplistic monospace font with digital-looking numbers and some special characters made for use with English or German language.

Kramer, a fun new creation.

I think the 4 and 7 are a tad funky and could use some work. Suggestions welcome! Thanks

Calculator font with a 7-segment display. This should bring many of you back to school, but in a good way, I hope.

This one belongs to a small family called Calculatrix.

I've allowed "MWmw+" to break the grid because they were impossible to render otherwise...

Did/do you ever use oldschool calculators to write funny messages? Post your best calculator words in a comment! :D

Some people may think I'm carving a niche for this kind of font style. Some people may say "Oni, m'colleague, why don't you branch out and challenge yourself?"

I'm lazy, and I like this font style. So here's another one.

A faux-monospaced font, inspired by various UI fonts from early 2000s games.

A square blocked pixel-like type.

Enjoy!

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.

Recreation of the number boxes in Minesweeper.

A futuristic font inspired by the midcentury modern artwork of space and modernism in the 1960s.

This font works great for large display type, but is easy to read based on the simple design of the characters.

Includes alphabet, numerals, and some punctuation.

Another sequel to LCD Dots, which, of course, is here. My other sequel, LCD Dots Condensed, is right here.

A sequel to LCD Dots, which you can check out here.

A font based on the news tickers from Times Square. Supports a few Greek characters, but not really a lot.

 Scurvy reconstructs the traditional characteristics of blackletter textur script within a low-fidelity digital parameter. 

This typeface was designed by Carson Chang.

Twitter: @_carsonchang

This typeface was concevied two years ago and later shelved. Thought that it was still worth finishing so here it is. It's another take on the square dot matrix style that I did with the MinSha typeface back in 2010.