Version 1.5: All permutations of E and F were refined and improved.
A modernized, rounded, and truncated version of Marengi. This is made to be a good text editor/chat font. It has very few kerning pairs, so it should render fine in any software.
Ascenders are only allowed to be as tall as the uppercase/numerals, while descenders are allowed to go 2px below the line. This creates a natural line spacing that is readable and not too dense. (Diacritics break this rule, of course... darn them...)
Gone are the curved descenders/termini on letters like gjty. The simpler geometry makes this design more suited to speedreading than its predecessor. In fact, altering those four letters alone improves speedreading on this font by up to 14%!
09JUN2019: I have been using this as my main IRC/chat font for some time now. Of all my chatfont designs, this has proven the easiest to read and use.
Original size: 6pt (use multiples of this size for pixel perfection)
Verbossus in sans-serif!This is a clone of Verbossus
A "Connect bricks" font.
It's called linestrider because the outline strides across the inline on both sides. It also reminds me of the courses that are drawn for line-following robots.
The person I made this for requested lowercase. I'll add it as I can.
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)
Version 1.3: Added Polish and started on Cyrillic.
Experimental polygonal superthick decolike.
Just a doodle... Inspired by @, of course!
This makes me think of icons/dingbats and ASCII roguelikes.
Original size: 6.75pt
See also:Limbus 2
An alternate take of Diamond Eyes with circles replacing the 2 smallest diamonds. No brickswapping used - many diamonds shared bricks so I had to place the circles by hand. This permutation introduces more texture, solidity, and complexity to the original. Hope ya like it!This is a clone of Diamond Eyes
Version 1.2: Added Danish, Dutch, Finnish, French, German, Hungarian, Icelandic, Italian, Norwegian, Polish, Portuguese, Spanish, and Swedish.
Experimental spurs and counters.
A pixel font which combines four experimental techniques at once:
1. Structurally disconnecting the stems from the open parts of letters.
2. Allowing glyphs to extend beyond the reaches of width and starting position.
3. Designing glyphs specifically to connect and form new shapes, rather than simply allowing shapes to emerge from existing characteristics.
4. Designing glyphs so that the overall font is free of a need for kerning.
Alternates are now on UPPER CASE. I'll continue to update this as I get more ideas!
Original size: 6.75pt (use multiples of this value for pixel perfection)
Formerly known as "Specula".
By request, a font with the two-toned look of a Pokéball. No filters! The Pokédollar sign can be found on "¢" and a Pokéball is on "•".
"Eviolite" is an item that powers up the defenses of Pokémon that are not fully evolved. Looks like a lavender-colored gem.
A vaguely Courierlike OSD (Onscreen Display) font which tries its best to be casual. The name is inspired by the old computer joke: "Who is General Failure and why is he reading my hard disk?"
No filters or faux-beziers, just stock bricks and a bit of stacking/nudging!
More about the design:
It started as a doodle and an attempt to make a smooth, low-resolution, low-poly font, and then it became a Courierlike. I have other fonts that tried to do polygonal round shapes before this (such as Cartoon Riot) but this design is my first real success in this area.
Initially, I made the angled glyphs before the round ones. I didn't want to change the angled ones, so glyphs like C, O, and Q became a bit wider than they are tall. I'm quite fond of this, because in most designs these glyphs tend to have a tall and narrow character. I think the mildly squat look of this font makes it cuter and gives it more personality.
A lot of glyphs were altered in specific ways to look more like metal type, especially anything with diacritics which touch the letters themselves. Other glyphs were altered specifically to be interpretable at small size. I also use angled contours and actual round bricks alongside each other within the same glyphs, another technique which is geared toward style and interpretability at small size.
This font came with many new challenges and an array of new techniques had to be designed. Loops were an insurmountable challenge because of the low resolution and heavy line weight, so I drew rounded areas to suggest them. You can see it on letters like Greek γ, ζ, and ξ.
A stemless and spurless Eviolite. It has a "utilitarian" look which I enjoy.This is a clone of Eviolite
An even smaller and more stylized take on Madcat/Madkitten. It isn't really a Decolike anymore, but it is readable at smaller sizes than almost all my other designs!
This uses some compression/truncation tricks to fit glyphs into a smaller grid. Those tricks are usually used in pixel designs (such as Chlorophyte) but I think they worked out well here, too!This is a clone
An alternate, more asymmetrical & stylized Madmouse.
This could be considered an avantgarde spurless or mixed-spur design. Some letters have spurs and some don't. This is entirely dependent on the diagonal lines, which were placed so that they would slant up and to the right. "s27" are obvious exceptions.This is a clone of Madmouse
Asymmetrical alien techno stencil.
This uses some experimental techniques, of course, but I'm not sure how to concisely explain those. Let's just say that each type of line bend and line connection has a rule associated with it. These get naturally modified by the structural asymmetry the font has so that simple rules appear in many forms and variations.
A quirky Pseudostencil design with a central horizontal slot going through it. The "slot" is 1 brick tall for lowercase and 2 for uppercase, and becomes a vertical slot for numerals and certain symbols.
This is named for the cowboy and lasagna emojis. These were repeatedly added to then removed from several popular chat clients and websites. Changing emoji standardization or government conspiracy? YOU DECIDE.
Here we have a filled-counter pseudoserif pseudostencil that is also a borderline IVO design at the same time! It also has a bit of a "double font" look going on if you look at the negative space.
1. Internal negative spaces of glyphs will be filled such that a 0.5-brick-wide void exists between the filled space and the glyphs themselves.
2. When a glyph's horizontal line intersects with the filled space created by Rule 1, both the filled space and the line will be broken.
3. Vertical lines will only connect by two tapering curves or by the implied connections created by filled negative space.
4. Filled negative spaces may only join with the outer perimeters of glyphs.
I decided to make a design which incorporated the thinnest/lightest weight lines possible in FontStruct. This is the result; I'll add more if people like it.
These 1/32 lines cannot be accurately nudged, so a unique line has to be built for each vertical position where I want a line. These lines also cannot be centered on a place where two curves meet (such as the middle of B or R). This introduces some unintentional asymmetry to the design, but I like it, so I'll keep it.
There is also the problem that forming a diagonal line of the same line weight is nearly impossible. While angled 1/32 lines can be formed, their angles are all close to 0. No method exists for making a line which slants at 45 degrees while also being 1/32 weight. So, I had to make some thicker lines in certain areas. I don't think they detract from the design, but if you scrutinize this enough, you'll notice them.
Experimental filled version of Pzydeco. The counter of "e" and all variations of it remains broken, so that the eye interprets it as "e" instead of "c".This is a clone of Pzydeco
Is it Serif or Sans? Western or Gothic? Double font or not? One thing is certain: This is not a time-travelling alien. Probably.
Paradoxy Effect, now with more dots.This is a clone of Paradoxy Effect
Hello I am Primus and these are my modrons
This font dwells at several borderlines: Effect, Pseudo3D, and at times IVO. It is not really any of these, but with the right presentation, it looks like it is.
Font made for a friend's band. "Refollte" is Skalmish for "banana spider".
Iteration 4: Basic Latin kerning finished.
DOODLE DOODLE DOODLE!
1. Letters with spurs will have the spur begin at the baseline. This provides the distinctive "high heeled" look.
2. Any letter whose traditional design has a straight vertical line on its left side will keep the line, no matter how the lines of the actual letter travel.
A hollow/unfilled Laconica! :D
This was about five times as work-intensive as the original Laconica, even after accounting for the fact that I didn't add Greek to this one.This is a clone of Laconica
Version 1.1: Improved gy&Ð€.
A greatly condensed Modron March.This is a clone of Modron March
The final Laconica?
This idea emerged while making Laconica Skeleton, so I decided to carry it out. The design reminds me of blueprints and floor plans, thus the name.This is a clone of Laconica Skeleton
A font which uses some custom macaroni bricks. This one has the same kind of structural asymmetry as Phenomenologist. Angles and corners on the left are almost always sharper than those on the right, which gives glyphs a structural asymmetry as well as a sense of rightward momentum. This technique also imparts variation to some otherwise very similar letterforms (bdpq, mw, sz).
This is named for a species of android from Doctor Who.
Other design decisions:
- Make the ascender height shorter than the uppercase
- Use squares for dots/diaresis and circles for punctuation, so that they are more quickly distinguished
- Allow the sharp curve and gentle curve to swap positions when it's beneficial to the glyph (BX8&)
- Incorporate angled lines into several glyphs so that none of the glyphs which have them seem out of place (SZsz012569*~$)
- Ignore the other design decisions for glyphs which need a standardized look due to their use in programming and other syntax-based forms of writing (most symbols & punctuation)
Linestrider's two-lined little brother.
Probably won't update this one again, because it uses a lot of brickswapping and so it is likely to get corrupted by additional editing/saving.This is a clone of Linestrider
INGREDIENTS: Triangles, Distilled Water, Orange Juice, Citric Acid, Powdered Unicorn Horn, Metaphlogiston Clef-21 (to preserve optical clarity), Waifu Tears.
- - SHAKE BEFORE ENJOYING - -
A condensed, rounded, and modernized Esperhand in a higher resolution.This is a clone of Esperhand