Geometric Art Nouveau lettering inspired by as well as trying to mimic Uncial & medieval Insular script letters!

Art Deco tile mosaic lettering design and background tile patterns.

It's designed to craft layers of typographic mosaics. It can create very subtle clear display text combinations when only layering text with just one or two backgrounds max. This will result in nice retro-ish mosaic typography. But beware, combining two or more background patters with for example different blending modes on each layer, this seemingly peaceful boy becomes capable of recreating the big bang!

All patterns are located in the Unicode block for Block Elements!

You know what, lets make this one clonable for everyone.

Enjoy!

A more bookish take on Comicool, made for more comfortable general reading. It's still useful for comics, as well!

Many letters were squared off in the corners, lowercase letters were given stems, and an assortment of glyphs were edited for more style.

This is the third iteration of Comicool... rather than develop them all toward one style, I tried to make each iteration the best it could be. The result is three distinct, but still compatible styles. This one is probably the best for body text!

Oh yeah! it's finally completed.

A semibold Gongclonker made to the same specs as the original - 5x5 with no wasted matrix.

Some kind of great big ol' chain.

In retrospect, I think it looks like a jewelry chain from a dwarven civilization. Perhaps the hypothetical jeweler cut and ground the stones in an imitation of some dwarven font!

When glyphs are used in isolation, they somewhat resemble carved signets or seals. Increasing the letter spacing allows you to create a variation of the design. (This is something that must be done in-software since the font will render as monospaced by default.)

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12SEP2018: Added lowercase... the low resolution combined with the design method make it very difficult to render distinctive lowercase versions of every letter, but I'll keep working on it. There's a lot of similarity between pairs like S/5, Z/2, etc., so this font is most effectively used in forms of writing wherein context suffices to inform the reader as to the identity of each glyph (lists, prose, and technical writings). If you want to use this in a password system or something, I recommend using one case's glyphs only.

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Design Rules:

1. Negative spaces will be areas of 0.5 bricks' effective length or width.

2. Negative spaces may exceed the 0.5 measurement only by increments of 0.5 and in only one dimension at a time.

3. Glyphs will fill their framed canvasses to the greatest extent possible while adhering to the other rules.

AZUL is BLUE in Spanish. I choose the word blue because it always reminds me of ultra bold fonts. But i feel like just "BLUE" looks dumb so i choose "AZUL" instead. Btw blue in Chinese is "lan". Just imagine "LAN" as it's name lol.

Least important stuff :

I got this idea when i was thinking about if I design a poster for a JoJo character. it'd be Kira Yoshikage. And I was like "Gotta need a ULTRA bold font to show he's really danger" Now you know this totally unuseful thing :P

A little more important stuff : 

This font is free for all use.

DO NOT PRESS THE B SYMBOL WHEN YOU USE THIS FONT. SERIOUSLY, DO NOT

lqi laugh quietly inside 

A simple multiline design

Needs fine-tuning and kerning, still. They'll come :)  eventually :) At the moment I'm quite busy doing too many things concurrently.

calligraphy+western

art deco.

Alternate take on Nirvanite, this time with bullseyes rather than solid circles as the large segments.

This one is a lot more organic than its predecessor, but also a lot more confusing. Looks like clusters of alien tadpole eggs to me!

If this design is modified, it will break. But, it has been tested and seen to produce no graphical glitches.

Experimental 24-segment display or massive monochrome Mondrian matrix. Pixel compatible!

The thinking behind this one was that with incongruously sized segments arranged in the proper way, I would create a design which was effectively 5x5, but which accomodated more glyphs than 5x5 usually does. Negative space is incorporated into the structure of many glyphs, though not enough to classify this as an IVO design.

"Qualtron" is the name of an imaginary entity that a friend believed in - a being meant to represent the result of "a mathematical equation that can rule the universe". I didn't inquire further about it... :D

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Design Rules:

1. Segments can have interior length/width of 2 or 5.

2. The central 2x2 square must always remain open.

3. Square bricks and 90-degree angles only.

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Original size: 20.75pt (use multiples of this value for pixel perfection)

fray series

This font and tm Nibble started off as one. Both were different from what they have now become. The idea was to create a very heavy, minimal curves and angles to give a sense of the glyph.

It started with a plain N and a solid O. Making the E match either the N or the O resulted in deviation from the style just enough that it warranted a spin-off into a font of it's own. 

Some letters—such as G and H—proved quite difficult to match in the style of either. A slight angle shift resulted in a glyph that did not go with other glyphs. I kept trying different possibilities...and at some point decided to save the discarded option into another fs, which now contains more than 200 characters.

The teardrop counter in tm Byte forced a complete redraw of all glyphs at about 2× the size.

I am already working on two additional fonts that came out of this exercise...and it might yield more.

This font started offline. It wasn't even supposed to be a font. I was just showing some students the value of a grid, even as tiny as 5×5 and the thousands of possibilities it generates. It led to making an 'a'. Of course, once that exercise was over, I had to continue making other letters. It's a compulsion. Sorry. The offline idea was slightly different. Compromises had to be made due to the limitation in place by the bricks available.

A 117-segment display made to have a more "mosaic" look. Try using this one at odd sizes, especially with antialiasing off! The resulting distortions occur in a consistent way which leads to many new uses for the font.

Original size: 38pt

circle.

A sci-fi font crafted while at the Pohang train station in Korea. Please enjoy

I tried to make a font that mimics the minimalist design patterns of the late-90s and early-00s, as well as earlier grid-based works like those of Wim Crouwel. This is the fruit of that labour.

A serif font with a couple of nice little touches to it. My original idea was to attempt to make a Donburi Serif, but about three glyphs in turned into its own thing.

This is a rendition of one of A. V. Hershey's dot fonts from his 1967 paper "Calligraphy for Computers", the "Cartographic" (sans-serif) font. This version only has the original Latin and Greek characters, map symbols, and some punctuation, and, like the original font, is missing the []{}@#$%& symbols.

SUTORAIPU ORIGAMI - A display typeface that was inspired by origami.

Enjoy!

Make the letters any width desired.

Type the uppercase letter for the left half of the letter, type an extender (or not), then type the same lowercase letter for the right half of the letter. The more extenders are inserted between the left and the right halves, the wider the letter becomes.

I and T are the exceptions where the extenders are typed before and after the left and right halves and not inbetween.

The other exceptions are M and W which have been split into 3 and extenders are added between the left, middle and right thirds.

? is split between ? and /

Extenders are located at    @ # $ % ^ & * ( ) and _

How to extend:

A@@a, B##b, C$$c, D$$d, E##e, F%%f, G$$g, H^^h, &&Ii&&, J**j or J**$$j, K^^k, L**l, M(({((m, N((n, O$$o, P@@p, Q$$q, R%%r, S##s, (((Tt))), U**u, V**v, W**}**w, X^^x, Y^^y, Z__z, ?@@/

Work-in-Progress …

G1 Counterfade. Its got faded halftoned counters. Who would've thought.