My second font which supports many languages.

Original size: 15pt

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A font which has a stemless, 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. This font is designed to be 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 different platforms all have traits which degrade, distort, compress, glitch, or otherwise alter imagery in various ways, and so this font is designed to minimize the loss of legibility.

So far, the design 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. In other words, I'm trying to make 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. Then, I can isolate more of the principles involved and start making more interesting designs using them.

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.

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08OCT2018: Due to the perceived lack of interest in this project, I'm shelving it til a later date. The font has already performed extremely well in tests so I don't think it can be substantially improved, only expanded.

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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.

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

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

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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.

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Enjoy!

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Recreation of the number boxes in Minesweeper.

Experiment 001 is one of my little writing system projects. This one is designed to be written in two-letter blocks, written by typing the first letter as a capital then the next letter as a lowercase. For words with an odd number of letters, write the last letter as a capital, then press '-' to fill the gap a second letter would fill. My inspiration for these shapes was the Interlac alphabet, which I found too difficult to write by hand.

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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.

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 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.