Self proclaimed keeper of truth and wisdom, this oracle doesn't beat about the bush.

All knowing or convinced of it's own importance and brilliance, it is bound to make bold statements without hesitation, leaving all non-believers in it's shadow.

Orakol is made to be seen, felt and heard from a great distance. Shouting out all sorts of preposterous prophecies.

Alternative a and e

See more:

https://fontstruct.com/fontstructions/show/1749711/zinople-eye-fs

https://fontstruct.com/fontstructions/show/1307297/mainz-c

https://fontstruct.com/fontstructions/show/796700/lombard_2

https://fontstruct.com/fontstructions/show/1421743/english-beagle-c

Various alternates in the capitals.

@ : ligatable S.

# : ligatable T.

$ : baseline-aligned f.

` : zero-width apostrophe.

Inspired by Octane by frongile

actually blackletter (somehow)

inspired by the work of @elmoyenique and @sed4tives

btw "kaldus" is slanted in estonian

LITERA FACILIOR GOTI ― A 'Blackletter' script style with a twist
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Also known as Gothic script, Gothic Minuscule, or Textura, was a script used throughout Western Europe from approx. the 12th untill the 17th century.

This FontStruction was aimed at mimicing the aesthetic approach of a ― ‘Textura’ variant of the Gothic Minuscule script style, more accuratly refered to as ‘Littera Textualis’. This style is most characterized by its strong sturdy letterforms, with distinguishing sharp, straight and angular features as oposed to the other variations in this catagory.

In terms of authenticity to the original predecessing formal script family, my ‘Litera Facilior Goti’ didn't took a whole lot of care for authenticity. The idea was to take a more independent and experimental approach to shaping the letters and forms, so it wasn't necessarily inspired by any specific typeface in particular, it rather recycles certain characteristics of a ‘Textualis Quadrata’, but beyond those aspects of general guidelines it evolved on its own.

Some of the areas where the design tends to really stray away from the tradition is for example the serifs:

It's often that I have some trouble with the weight ratio distribution of serifs and such elements in simplified modular based geometric Blackletter fonts. In many of such designs they tend to have been left pretty static and equal in thickness throughout the full character set. Which I think is often either having some letters look clumsy or even weird, and generally speaking also often making them appear too thick.

So this was one of the things I had to try and adress, I experimented a little with the style and forms of the serifs. Eventually this resulted in multiple deviations in variety to mix and create a more dynamic distribution. similar to what was done in less formal scripts. Over time they became ever further simplified, letterforms that involved less reorientation of the pen, in pursuit of styles that were quicker to write.

But taken as a whole typeface I find that it is having this certain ‘random-ish’ characteristic that is simply working for the better of these particular style fonts.

I'm still working on improving its overall rhymes and reasons to a certain point that is acceptable, balanced and with enough consistency. But up to this stage I personally think that the concept worked out quite successfully so far. And that even despite the fact that its stripped down of most ornamental decorative calligraphic extravaganza, it still managed to capture a convincing portion of that ‘Medieval ’ looks and personal flavour.

But I think that in the end this became a pretty neat looking font and it would classify somewhere between a hybrid mix of simplified Blacklettering and a drunken man's ‘Textualis’.

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―  No filters used!

Cheers!

Inspired by Bastard by Barnbrook Fonts and Minotur by cablecomputer

See more:

https://fontstruct.com/fontstructions/show/2135190/blockletter-4

https://fontstruct.com/fontstructions/show/1421743/english-beagle-c

Recreation of the pixel font from The Game Kitchen/Team17's "Blasphemous" (2019).

Expanded slightly to complete the accented characters. Otherwise, only the characters used in the game have been included.

A gothic-style simple font based on sharp and clean lines.

Clone of Sierra Font 501 fon. Smooth version of another favorite computer RPG: Old English font from Betrayal In Antara, (C) 1997 Sierra On-Line. Sierra Resource File Tags: "8.fon" ; "501.fon" ; "4210.fon". Kerning is from "501.fon", which appears to be only found in Betrayal In Antara. Numerals (except 3 & 8) are from "4210.fon", found in Torin's Passage, (C) 1995 Sierra On-Line. Numerals 3 & 8 are designed by Goatmeal.

Pixel-rounded version of zhowfrakt. Another point of view, more "organic".

I wanted my own pixel fraktur. It was very funny to create the "old style aspect" on each glyph.

Clone of Fraline, just added 4 and 7.

Another "genre" font, this one for the invaluable old style vampire people. BTW, sinople is the name of the green colour in heraldic.

Not my original work. Attribution is on the last sentence.

This is a font utilising the phonetic keybindings for LCC1.6 (Language Creation Challenge - challenge #1, version 6).

sample: clagg = word | vjjl'clagg = words | vjjl'clag-oen = wordy

Usage. [Keybinding = Natural Script ; pronounciation]

a = a ; a in accustomed, according, account, attribution, active

b = vv ; v in Vladislav, Vladivostok, Vladimir, Valishchevo, Volgograd, Vietnam, Veteran

c = c ; z in zazazoo, Zoolander, zero, and Zero Dark Thirty

d = tt ; d in donut, don't, do, dose

e = e ; e in expect and expand

f = v ; f in father, feather, farther, further

g = gg ; g in guess, guest, gust, guts, and goat

h = x ; kh in Russian word ukhoda and khorosho

i = jj ; i in in, is, it, and if

j = ttz ; dzh in Russian names Dzhoshua and Dzhon

k = g ; k in kangaroo and king

l = l ; l in lord and lore

m = nn ; m in mice, mice, mice

n = n ; n in nice, nice, nice

o = o ; o in octave and orthodontist

p = v ; f in father, feather, farther, further

q = q ; ts in lots, fats, cats

r = p ; r in rabbit, rocket, racket, race, raise, road, rode

s = s ; sh in shoulder and shout and sch in German word schreiben

t = t ; t in titanic, tetris, and attractants

u = uu ; u in Uzbekistan and ue in blue and glue

v = vv ; v in vest, vintage, and volcanic

w = u ; w in west, wish, and would've

x = x ; kh in Russian word ukhoda and khorosho

y = j ; y in yes, yesn't, yeet

z = z ; zh in Russian name Zhana and j in French name Jean-Paul

cc = cc ; s in snake and sound

Attribution: Original blackletter font is called "Zeitgeist" created by PSerighelli.

====[ EDUCATIVE INTRO ]====

At a time when making books was a very time-consuming and labor-intensive process, an increasingly literate 12th-century Europe required more and more books. To keep up with the increasing demand for the spread of literature was a ongoing struggle. Writing materials such as inks, dyes and parchment were very expensive. And it wasn't until the 15th century, when parchment was largely replaced by paper, along with the arrival of the printing press, for it to gradually became cheaper, faster and less labor-intensive.

So it made perfect sense to find other ways to help with this process.
Simplifying a script and cutting back on the decorative calligraphy was the most effective way of doing this.

This led to the development of simplified variations to pre-existing bookhand scripts. One of such forms is littera textualis, categorizing within the Textualis/Textura or simply Gothic bookhand scripts group.

Littera textualis is the simplest and least calligraphic form of textualis. It was developed with just two main goals in mind, to save time and costs. The simplified letterforms could be written much quicker than the more calligraphic and luxurious variations. It offered a more cost effective and faster version to the script. It was often used for less important literary works and academic papers.

It functioned as the standard bookhand script in the Netherlands during the 14th & 15th centuries.

====[ ABOUT THIS FONT ]====

TEXTUALIS BATAVICUM - A calligraphic inspired Blackletter/Gothic bookhand script. Essentially a Textualis/Textura inspired work.
The design mainly follows the concept for a traditional form of littera textualis bookhand script as was described in the intro written above.

It remains a work in progress and I will add update info for this font in the comment section bellow.

Some character still need slight adjustments, but so far I am very pleased with the result. As you can probably notice, the uppercase characters have slight more weight than the lowercase has.

More characters follow soon.

I hope y'all like it

This font is a clone of "Cloher Mewrett Yiuoppo".

I have made a lot of new letters, and I have added the French accents.