a project to unwind from the more complex projects i am currently working on
update 0.2: fontlanger2005 inspired me to make a few more alts that he suggested in a clone of this font
a monospace font inspired by inktraps, reverse contrast typefaces and the works of bagerich type foundry
an attempt was made to create a didone typeface
weird 'a, c, e, f, g, k, r, s, t, v, w, x, y' and more because why not
wip, just wanted to publish this for now
Pixel serif with the bends.
Probably gonna add cyrillic soon
A pixelly font made with the prime focus of simplicity and feeling retro! If anyone wants to use it, feel free to ask, and I hope it is of use to people that don't include just me because fonts are awesome and I happened to design this five years ago. Enjoy!
simple sans is... well... a simple 7x4(ish) sans-serif pixel font. but not really. there are a lot of funky details hding in the glyphs. try to catch them all!
this is currently the most-glyphed font i ever have which is not a clone of some other font.
this font is gonna have 1000+ glyphs very very soon!
this experiment is now abandoned. i will work on a new unicode font soon.
The goals for this typeface was to create a quirky design, inspired by the map of the underground. I ensured that my letters abided by the rules that Harry Beck set while designing the map - horizontal, vertical and 45° lines, and incorporating circles into my design. I wanted this typeface to have a friendly feel and to reflect the theme of the community through the idea of connection.
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.
Lunais, but with many extraneous details omitted.
A novel Connected Outline design with spiral-like tendencies.This is a clone of Lunais 2
A small-grid font with character.
- No angles.
- Asymmetry should be present wherever feasible.
A flat-topped Decolike. This was a difficult style to work with!
Mildly quirky serif font made for the signage/logos of a certain event. Limited character set.
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.
The original Halberdia as it evolved from from 0.1 to 0.3.This is a clone of Halberdia
A font made for a LuneKnight, a Terraria mod by yours truly. It gets its name because parts of it remind me of halberd, partisan, and/or axe heads. I designed this to have the vaguely authoritation look of a Didone as well as a borderline-gaudy look that prevents this from being taken too seriously. These changes lent some much-needed character to the prototypical Didone from which this design evolved. The uppercase letters are more heavily ornamented, as if to suggest that they are letters from an illuminated manuscript.
The main texture is a diamond pattern inspired by vent holes in medieval armor. These were often made with a square punch, and help the font look more handmade. Actually, most of the quirks this font possesses are present to help present a handmade look.
The wider letters are incised, which seems to lessen their perceived wideness by breaking up the shapes. For me this effect lent a more natural flow to the reading.
The ornamentation rules are complicated and factor in lettershapes, English letter frequency, and the existing design parameters. One thing I can concisely explain is that glyphs which normally look fairly plain are ornamented to such an extent that they make others look plain instead (CGJLT1 among others).
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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I finally made a folded-/ribbon-style design. This one contains a number of experimental techniques. Most notably, the swept parts of glyphs are allowed to extend beyond the letterwidths and sometimes even the baselines. This enhances the sense of movement, creates some interesting linkages, and reduces the need for kerning.
All of these shapes can be constructed with paper or ribbon, although lots of clever folding tricks, doubling, and pinning down/securing with glue would be required.
Alternate tilde on "±".
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.
A design with small caps... by which I mean the caps are lowercase :D
Alternate plain version of Funkytown Throwdown. The spacing has been reworked for this one.This is a clone of Funkytown Throwdown
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.
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.
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.
A continuation of ideas present in Limbus, with a bunch of new ideas for good measure.
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.
By request. The name is Dwarvish for "Matchshattered" ("Equalshattered"), an artifact iron axe carried by Mosus in Kruggsmash's YouTube videos about Dwarf Fortress.
Numeral digits are to be seperated by spaces.