Recreation of one of the pixel fonts from Johnson Voorsanger Productions/Sega's "ToeJam & Earl in Panic on Funkotron" (1993) on the Sega Mega Drive/Genesis.
This font is almost exactly the same as the equivalent variant in "ToeJam & Earl" (1991), with the exception of the "b", "j", "z", zero, and some of the punctuation marks.
In the game, this font is dynamically switched with another variant, creating an animated text effect.
This recreation uses the special TTF+SVG format, which currently has limited support. For a monochrome version, see this recreation.
Only the characters present in the game's tile set have been included.
This is a clone of ToeJam & Earl 2 (Variant 1) (Mono)Recreation of the colour pixel font from The Bitmap Brother's "Gods" (1991) port on the Sega Mega Drive/Genesis.
Note that in the game, there is also a separate set of 0-9 numbers used for the score counter. This recreation only includes the slightly "cut off" letters and numbers used on the title screen, status messages, and high-score screen.
This recreation uses the special TTF+SVG format, which currently has limited support.
Only the characters present in the game's tile set have been included.
Recreation of the small pixel font from Arcade Zone's "Legend" (1994) on the SNES.
This recreation uses the special TTF+SVG format, which currently has limited support.
Only the characters present in the game's tile set have been included.
This is a clone of Legend (SNES)Modified clone that provides a style variation to the previously published Jurriaan Schrofer font revival I did, called "STF_SATER (Isometric)".
The earlier version I did was in fact amongst my very first font designs ever, and at this stage I still had about zero real typographic background knowledge.
Due to this I simply went out copying the exact lettering 1:1 as was seen in the source that I used. Not realizing that the angle of projection applied to the lettering in the original would render my font next to useless.
So I ended up with cool looking isometric letterforms that were heavily handicapped in a full font.
This time I overhauled the original and got rid of its isometric nature and simply just making it a regular, fully upright style.
Now with this addition it finally becomes a truly functional font at last.
I hope you like it !
This is a clone of STF_JS-SATER (ISOMETRIC)Recreation of the built-in font found in the old Thomson line of 8-bit computers (Thomson MO5, MO5E, MO5NR, MO6, T9000, TO7, TO7/70, TO8, TO8D, TO9, TO9+ and Olivetti Prodest PC128).
This recreation combines the character sets found in the various localised versions. A few accented characters have been added to make the set more complete, but note that there are no acute/grave/circumflex accent versions for uppercase letters.
Apart from that, only the characters present in the original font (that I could find through emulation) have been included.
Collection of linear-interpolated circle attempts, or simply faux-Bezier circles and other curvature related materials.
This toolset basically is collection of pre-made fake circles and curves in numerous different sizes to make ones workflow easier. It could also simply serve as a educative tool that demonstrates the basic FontStruct technique used for making fake curves and circles.
Initially I intended this to be much more complete, but it is simply too much work, and would take forever to get published at once.
Please don't expect this to be perfect, a lot gets fairly close to the "real-deal".
But keep in mind that they remain raw approximations of their true Bezier counterparts. I will try to improve whatever is needed as time progresses, as well as most likely add more stuff.
--- No filters were used ---
I hope you like it so far,
Feel free to copy, re-use, improve or even destroy!
enjoy!
Here is a gift to the community.
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This is a collection with parts and bits for small grid designs, (5x5 max) Each related to the assembly of smooth and (near) Bézier-like curved shapes and round letterforms.
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As some of you might very well know, one of FontStruct's holy grail is custom circular and curved forms. I'm talking about those not simply build with off-the-shelf bricks from the standard brick pallet FontStruct is providing.
Making these can be a very difficult process. Since the bricks in the default pallet are a far cry from what is truly possible with some clever use of FontStruct's editor features. Although obviously there remain serious limitations when it comes down to making different curves and round forms, there still is a lot room available to work in.
Most of the seasoned users know and utilize this very well, but, as with each of us, it took time and dedication in order to learn the tricks of the trade!
With a little knowledge, clever thinking and a healthy dose of outside the box thinking one can still get a lot out of FontStruct.
This font is meant to serve as a helping hand and inspirational / educative tool. Providing some insight into making numerous curving and rounded forms, various transitions, achieving different weight contrasts, and how all the various building blocks were aligned in order to make the various parts.
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Most important features used for this process are:
Brick Size filter: Must be changed to a 2×2 value in order to use the elements in this font.
All functions found in the "Modify" menu: Flip rotation and nudge are used to make alignments and to fill up the gaps.
Make composite: (also found in the Modify menu) This function will mainly be used to do two tasks, resize, modify/distort brick shape,
placement and orientation of bricks within the brick grid square for the required given composite.
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The font itself contains a collection of different premade elements divided into 3 main groups that I will list bellow. And can be found in the uppercase, lowercase and numerals sections.
[Uppercase] Various pre-assembled variations of the letter O, to demonstrate different variations for a round letterform. These were sub-divided and grouped according to their relative height!
[Lowercase] "Copy & Paste"-ready isolated parts 'n bits (curve segments, terminals) aimed at re-constructing and use in your own projects
[Numerals] Various random examples of letters that have curved/round features implemented in some way.
A fonts height probably is the most dictating parameter in type design in terms of behavior and appearance. Therefor, with the collection of pre-build vatiations of the letter "O", I choose its relative height to further sub-divide them in, rather than weight, since these are already completed letterforms. This makes up for the easiest access to a "drag/drop" adaptation into one's own project and build a full font based upon it, mainly for those that come with only limited experience.
This tool is to make one's FontStuct experience a little easier or to save time. So feel free to clone it and use the content however you like.
Re-use any of the provided elements, copy/paste the letter examples into your own fonts, deconstruct and re-use the various parts. Or simply just take a peek under the hood to see how they were build, This can be done via the "Menu>View>'Outline' " function.
There are no restrictions to how the content is used.
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More additional curve variations and different related other elements will be added soon. I have to select them from my various random works and this takes some time. Please stick with me on this one.
The intent is to try keeping this a ongoing project, so hopefully many more updates will follow and eventually turn this into a "all-in-one" tool for small grid designs. So far I also have plans for including a collection with different serif style, but this is something for a future update as well!
For now, curvatures it is!
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Note that, all content and forms in this font were created by myself and were gather from the various projects I have made, most came from published works, but some were taken from private material as well. We all here work with the same tool + limited brick set, so I am pretty sure certain elements in here were done exactly the same way by other users. Please don't accuse me of using others or your material without approval, this is just a case of unfortunate coincidence.
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[Usage]
The elements are best used by way of copying them from this into your personal projects, and work with it from there! This because the "My Bricks" pallet in this font is messy, probably very uncomfortable to work with as is. Copy & pasting them into your own font re-arranges the selected brick set for that segment into your own font's "My Bricks" pallet, making it much easier to get sense of its individual bricks.
Another very important thing is, I strongly advice not to nudge any of these what so ever, unless investigated its composition first. And I cannot rephrase this enough, seriously, never, or brace yourself for absolute dire results!
This due to the numerous counter-rotated or different directions of nudged 'into place' elements that make up a complete segment.
There are some elements included that at first seems to be looking like doubles, with onother one looking exactly the same. This is right, but these are constructed using different configurations of bricks. The reason for this is to provide alternative configurations for them. Some scenario's can make one approach to be working just fine, and the other simply not. This all hangs in strong correlation with the current nearby configuration of bricks, and simply depends on the whatever spot still remains unused in the surrounding grid. Since available grid locations to start working from are usually very limited. Its like this, Taller and/or wider letterforms meaning more available space to work from and place your bricks, but the smaller you go, the more scarce space becomes, simple as that.
So best is to use and work with this tool on a copy of your current glyph to verify no bricks will be raplaced and ruin the current glyps, and only to replace the original glyph once you're absolutely sure everything worked out well together.
If something else isn't clear or if you have any questions in regard to this tool, feel free to ask those in the comment section bellow.
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One final thing, beware that some of this elements can possibly influence the font vertical metrics (font size and leading/vertical spacing) and create addition extra line spacing. As well as the letter width. So be sure to allways double check those two when u use any of this.
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PS: My apologies for the "too much" of a explanation above, lol.
Happy structing,
cheers
This is a attempt at starting another collaborative FontStruct community project to thank for a decade of FontStruct's web application and pay homage to its creator, Rob Meek.
The first initiative for a community collab fontstruction originally came from fellow user Funk_King, and resulted in FS Collaboration 1. A second round of creative collaborations was proposed by Geneus1, which resulted in World of Thanks. Two exceptional expressions of gratitude towards each responsible for making the FontStruct web application available, featuring contributions by various community members.
Now, more than 9 years after the second round World of Thanks was published and (sadly) had last seen activity, I thought It would be a great idea to celebrate a fontastic decade under the belt of FontStruct.
Therefor I'd like to propose a third round of creative collaborations.
This is an opportunity for all users who have missed out the first two rounds, and say 'Thank You' for the awesome, worlds most accessible, freely available font creation application, that is FontStruct.
All credits for this concepts originallity should go to Funk_King, as it was his brainchild, and I most likely would've never came up with it myself.
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Guidelines are fairly simple (but could possibly change at a later stage)
1.) Send a message to reserve your glyph('s) (up to 3 max.). People added to the list will be sent the info to access the collab account.
2.) Say 'Thank You' in your own words/language. (Spanish, French, Italian, etc.)
3.)Work should only be done on your own glyph(s), unless approved by the original designer!
4.) The size of the glyph('s) should roughly be between 32 and 64 bricks in height.
5.) The current person working on the font must inform the next person on the list that they are finished, so work will not be lost by working simultaneously. As well as keep the project running.
6.) Once finished, add your username, language and/or glyph description here at the bottom.
7.) If you are posting a message in the comment section from the collab account, end the message with your original username, so we know who you are.
8.) When possible, post a sample image of your contribution in action. below in the comment section.
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The initial font was cloned from DJNippa's 'All Composites saved in MY BRICKS' (big thanks to this user for allowing me to use this fontstruction brick toolset).
It has been slightly modified, removing all bricks from the editor grid, preserving only the saved set within the 'My Brick' pallet. The small square shaped brick in 'My Bricks' that is used as glyph indicator also marks the end of DJNippa's brick tool set. All bricks beyond this point are most likely the result of of glyph-specific composites and should under no circumstances be modified what so ever.
It is also possible to work on your personal FontStruct account by manually cloning DJNippa's or this font, and once you finished your glyph(s) simply copy/paste it from your account into the collab account.
Have fun structing!
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FORMAT:
letter-(description) word (language), by user
A-(Ligatured Sans) Bedankt Fontstruct! (Dutch), by Sed4tives, B-(Stencil Sans) Bedankt (Dutch), by Sed4tives, C-(Circular Display) dankjewel (Dutch), Sed4tives, D-(Minimalism) 謝謝 (Mandarin Chinese), by JunYou, E-(Artdeco) 謝謝 (Mandarin Chinese), by JunYou, F-(Minecraftio) !תודה (Hebrew), by BWM, G-(Rainy Days) ¡Gracias! (Spanish), by BWM, H-(DYMO LetraTag Interface) ghIlDeSten! (Klingon), by BWM, I-(description) 고맙습니다! (Standard Korean), by Bluemon, J-(description) word (language), by user
This is a clone of All Composites saved in MY BRICKS 3.0Recreation of the primary pixel font from Sin-Nihon Laser Soft/Telenet Japan/NEC's "Last Alert" (aka "Red Alert", 1989) on the PC Engine/TurboGrafx-16.
Only the characters present in the game's tile set have been included.
Recreation of the small pixel font from the european/north american release of Sonic! Software Planning's "Shining Force II" (1993) on the Sega Mega Drive/Genesis.
Only the characters present in the game's tile set have been included.
Recreation of the small pixel font from the japanese release of Climax Entertainment/Sonic! Software Planning's "Shining Force" (1992) on the Sega Mega Drive/Genesis.
Compared to the european/north american release, the alphanumeric and punctuation characters are all shifted by one pixel to the left, and one pixel down. The "U" is also different, and the font lacks a lowercase.
This font includes a full set of hiragana and katakana characters. In the game's tileset, the dakuten and handakuten are separate tiles, positioned in the line above the character they relate to. In this recreation, these characters are pre-combined into a single glyph.
Only the characters present in the game's tile set have been included.
This is a clone of Shining Force (Small)Recreation of the pixel font from Jaleco's "Saiyūki World II: Tenjōkai no Majin" (1990) on the NES, which was re-themed for the US market as "Whomp 'Em". A fairly standard font, but with a few nice quirks (particularly on the "X"). Only the characters present in the game's tile set have been included.
Textura Reticulata, my first font. I began with the intent of replicating my own textura quadrata calligraphic hand, but decided against approximating the heavily-rounded majuscules with small line segments and ended up mostly inventing a majuscule set. I feel like the minuscules are a good approximation. The Ogham set are, of course, what you would expect to get if transcribing them with a roundhand nib. And I made use of various unused unicode slots to add some non-canonical Ogham characters for one of my own projects.
Recreation of the italic pixel font from Capcom's "Dungeons & Dragons: Shadow over Mystara" (1996). This font is very sparingly used in the game - apparently, just for the character names, SP/HP counters, and (partially at least) the inventory ring interface.
This font includes a near complete set of hiragana and katakana characters, as well as a wide range of special characters (such as a full set of zodiac symbols).
Only the characters present in the game's tile set have been included.
This was a simple idea started from S and T. Most of the glyphs have two verticle strokes that are 4-bricke-wide and a 1-brick-wide area in the middle of the character. except I, L, S and T (actually a lot more). They are a bit different. Especially S, T and L. The whole characters are only 8 bricks wide. As I mentioned above, It's because the whole font started from these characters.
Straka the name came from last name of a person. The S and T reminds me of this person's last name. I like this last name although I don't even know him.
About the Latin extension, I have made only the glyphs that require no new design, just diacritics and already made letters. So I can pretend like hard-working on fonts but copy paste in reality. :P
Also, I made Arabic glyphs. Only isolated forms. Which I suppose won't be a comfortable experience to Arabic users. It's like every letter has crazy swashes but every letters are lightyears away from each other.(or is it?)
Credit me bcuz it took days and I gave it all to you for free. Unthankful hairless ape. :p
has it gone 2 far? hope it didn't hurt you.
Recreation of the primary pixel font from Konami's "Akumajō Special: Boku Dracula-kun" (1990) on the Nintendo Famicom. It includes an almost complete set of hiragana and katakana characters.
Note that in the game, the dakuten and handakuten are rendered as a character on the preceding line, while this recreation includes characters with these diacritics in the correct position in the correct character codepoints themselves - for this reason, the characters themselves are taller than 8 pixels.
Only the characters present in the game's tile set have been included.
Recreation of the pixel font from Nintendo's "The Legend of Zelda: Link's Awakening" (1993) on the Game Boy.
This recreation includes the special/accented characters from the french and german releases of the game. In game, the characters with a diaeresis use an additional tile above them - in this recreation, the characters have been combined properly (and as a result, the height of the font overall is greater than 8px).
As an aside, this font was also used for the fan translation of "For frog the bell tolls" (aka "カエルの為に鐘は鳴る" / "Kaeru no Tame ni Kane wa Naru", 1992/2011).
Only the characters present in the game's tile set have been included.
Updated 9 July 2022 to include additional accented uppercase characters, and the star icon.
Recreation of the pixel font from Bits Studio/Flying Edge's "Terminator 2: Judgement Day" (1991) on the Sega Mega Drive. In game, the font uses a subtle form of antialiasing on the top-left-most pixel, which has been omitted from this recreation. Only the characters present in the game's tile set have been included.
Recreation of the pixel font from Taito's "Warrior Blade: Rastan Saga Episode III" (1991). Note the roman numerals, mapped to their respective unicode characters (U2160-U2162). Only the characters present in the game's tile set have been included.
What started as a revisit of an old Impulse Tracker font, EK-WINTR, turned into an exercise in clarity and distinct letterforms in a small (4×8) array for as much as I could manage. I'll gladly add accented Latin letters on request (or as I get the urge), and I might have a go at filling in the Greek and Cyrillic alphabets soon if there's demand.
Note: E-Keet Winterlate BC is bicameral (typical upper-and lowercase forms). This is the “Alphabet 26” version (no distinction in forms between upper- and lower case).
Extra note: The vertical metrics are present wonky compared to the BC version because they're primarily calculated off of a few lowercase letters... which are very different between the two! Once FontStruct gains more direct control of vertical metrics, the generated fonts will line up fine.
Revision 2019-11-14: In loose regex terms, revised [MWmwÑñĒ™⇑], moved [₀-₉] to their correct slots, added [£←↑→↓⇒] and Roman numerals.
Revision 2019-11-16: Added [★☆].
This is a cloneWhat started as a revisit of an old Impulse Tracker font, EK-WINTR, turned into an exercise in clarity and distinct letterforms in a small (4×8) array for as much as I could manage. I'll gladly add accented Latin letters on request (or as I get the urge), and I might have a go at filling in the Greek and Cyrillic alphabets if there's demand.
Note: This is the bicameral version (typical upper-and lowercase forms). E-Keet Winterlate A26 is the “Alphabet 26” version (no distinction in forms between upper- and lower case).
Revision 2019-11-13: In loose regex terms, revised [MWmw™⇑], added [£←↑→↓⇒] and Roman numerals.
Revision 2019-11-16: Added [★☆].
This is a clone of E-Keet Winterlate A26