Recreation of the pixel font from Taito's "Double Axle" (1991).
As this is my 1000th font (with most of them computer/game recreations, collated for The Video Game Font Preservation Society), it's worth noting why I chose this.
The arcade game itself is rather obscure, and not very good. However, the characters are, for the most part, very "classic arcade font" - though this font does have a few notable little quirks that make it unique (the weirdly slanted "0", the "8" with its offset counters, the mix of serif and sans serif). But most of all, what really struck me about the font is the colour treatment in game - a beautiful "desert chrome" rendition that just screams late 80s/early 90s.
This recreation uses the special OpenType SVG (TTF+SVG) format, which currently has limited support.
One minor tweak I made was to the "T", which had a very odd inbalance. Apart from that, only the characters present in the game's tile set have been included.
Inspired by radios' displays.
05 JULY 2022:
Fixed: Q, q, 6
Added: Æ, æ, £, <, >, (, )
This is a clone of Digital Radio Display 14 SegThis is the font from the Corona PPC-400 IBM-PC clone, from 1984. This font is interesting in that it is a 16x16 font, apparently intended for a 1280x400 or 1280x800 display resolution at a 1:2 aspect ratio, which was very high resolution for the time.
By request, a "junk font". Looks pointy, glitchy, fuzzy, janky, grungy, burned, rusty, distressed by power tools, or some superposition of ONE OF THESE OR MORE, depending on the size used and the rendering effects (antialiasing, smoothing, etc).
Rather than force the letters into convincing classical forms, I focused on making sure each letter was thoroughly scrambled. This design could in theory be used with an image-recognition script in order to be put to cryptographic uses... the result would be fun, but not very efficient or crackproof. UC is the same as LC, at least for now.
The original brick-of-bricks is located on ".". This is the template from which the other glyphs were made.
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Design Rules:
1. Up to 25 distinct bricks from the palette may be used in the overall construction.
2. Each glyph will incorporate a heterogeneous mix of these bricks.
3. Bricks may not be flipped, rotated, stacked or composited.
Another conlang/conscript from my own works. These are the Symbols of Starborn Lightness used by Asgari.
Asgari is an artificial sun orbiting Gara, an interstellar planet. It was built to use Starborn Lightness symbols as concept-units in order to electronically convey information to the Garai people about itself. So, these symbols were originally something like status indicators. Until C.Y. 1997, they could be seen on displays in the Celestial Telemetry Room at Magong Stack One in Upper Netazeca.
However, some Garai re-used the symbols to make constructed languages and ciphers. Monsaic Sun is unique among these in that it uses only the existing symbols, without any alteration. So this font can be used to write either language.
Appears in: Seven Candles Trilogy (2013)
A 12x12 pixel font designed for use alongside microfonts, especially the "Derpberd" family it's modeled after. These large letters help decorate the start of a new chapter in a manner similar to the art fonts of illuminated manuscripts. I think this makes a decent "high-tech" or "board game" font, too! :D
Alternate style on lowercase (alternate ,.!? are on <>/~). The symbols and numerals have a slightly altered frame to help differentiate them and add some flavor.
Having grown quite font of recreating video game pixel fonts, I did yet another one: the font used in the SNES classic Super Punch-Out!!
Quarlow is my most extensive font to date, featuring over 850 glyphs based on the characters appearing in the game. It comes with a whole hiragana & katakana set as well as a cyrillic base character set, countless added characters and all of the more common special characters, diacritic characters, etc.
The base font size and recommended setting for Quarlow is 16pt and multiples of that. Use metric kerning and no additional smoothing effects for the ultimate punch-out experience.
Super Punch-Out!! on the SNES was developed and released by Nintendo in 1994. I picked the name of the font (Quarlow) after one of the many quirky opponents you face in the game.
~ Quarlow - created by Caveras after the original font used in Super Punch-Out!! for the Super Nintendo. ~
(Complete basic latin set). First iteration of a font meant to be used as a substitution cypher in a videogame set in a very far future. Letters are, with a few exceptions, inspired by their corresponding latin glyph. Numbers look a bit like cells dividing in a petri dish. Punctuation and symbols are designed for easy recognition.
Updated version: https://fontstruct.com/fontstructions/show/2100999/far-future-1
With 12x12 pixels at size 6/8 font, the new brick filter options are on display in Zodiac Square. To ensure a square font, any accented glyphs from Mandrill (my monospaced, lanky, much-of-unicode font) that went above a capital A's peak were cut, but many lower-case accented glyphs stayed in. Since this is meant for a text-heavy game genre where legibility at small size is important, all of Latin Extended Additional was cut -- it was just too hard to read at small sizes, and I doubt it would be very useful in a roguelike or similar text-based game that needs square glyphs. This looks pretty good with anti-aliasing, but the preview may be funny because it uses the old 2x2 filter as well as the new horizontal stretch filter. It's called Zodiac Square because of the 12x12 pixels, 12 signs of the Zodiac.
This is a clone of Mandrill