Reload your brain, ask about everything. Our Future begins in... 3... 2... 1... NOW! NB: Better writing with uppercase. Three alternatives (B, F, T) to improve readability in certain cases are in the lowercase.
** NOT SPONSORED BY OR ENDORSED BY MOJANG **
I finally created this font… It took a long time to create… Feel free to suggest any corrections below…
Note: The OpenType file may not work correctly. I'd recommend downloading the TrueType version of this…
это короче как vcr osd mono но лучше.
this font is like vcr osd mono but better.
This is a clone of 12x16 iskraAn italic version of the fontstruct logo and Structurosa by pauldhunt, using composte bricks and nudging.
Carthage Sans LKE is an expanded version of my Carthage Sans font, which in itself is a reimagining of Apple's Espy Sans 12 bitmap font. It aims to cover as much as possible of the Latin, Cyrillic, and Greek blocks of the Unicode standard (thus the initials -- "Latina, Kirilitsa, Elleniki"). I'm open to expanding it to any of the other scripts Unicode covers, but I have little to no personal experience with most other alphabets; if you'd like to contribute, I'd particularly be interested in Arabic, Devanagari, Katakana, Hiragana, Armenian, and Hangul. (I would like to add Hebrew as well, but it's hard to get the diacritics right in what's essentially a pixel font. We'll see.) The current status as of 10/28/2015 (the date of initial publication):
-Latin: all of Latin-1, Latin Extended-A, and "Even More Latin"; Latin Extended-B is missing some characters that seem to be mostly either phonetic notation or obsolete.
-Greek: All Greek characters supported by FontStruct. If you need some of the ancient dialect characters like Pamphylian digamma, they're now in the GitHub version; polytonic will appear there as well, if anyone asks for it. Basic Coptic support is there, although I tried to fit it into the Espy Sans aesthetic rather than trying to duplicate the Byzantine-Egyptian traditional style.
-Cyrillic: Still a work in progress, but all Slavic languages using Cyrillic characters should be covered. The main holdup is Abkhazian, which is spoken by just over 110,000 people in the world and also has one of the longest alphabets in the world; I have no idea how many of them would be interested in this, so it hasn't been a huge priority. (Besides, the PT family from Russia's Paratype is excellent and far better than I could do with most Cyrillized languages.) I've emphasized support for several languages, the most important being Vietnamese (75 million speakers deserve some support no matter how tedious it is to do so).
I've also added characters for Old Irish, Old Church Slavonic, and Icelandic. There's a number of characters used in pan-African linguistics I am not sure if I need or not; they'll get filled in eventually alongside the Cyrillic, but how fast I have no idea.
Carthage Sans extended version on GitHub: https://github.com/csyde/carthage-fonts
I am deeply indebted to Keith Martin (@thatkeith on Twitter), formerly of the UK MacUser magazine, and his Espy Sans Revived project for a reference for the original letter bitmaps; Carthage is entirely my work but it's hard to find Espy Sans specimens in the wild, and his work is probably the best.
This is a clone of Carthage SansA font I'm working on that will support most Unicode.
I will continue working on this until i get to over 8240 characters, beating 7:12 Serif.
Status:
Basic Latin - DONE
Latin 1 Supplement - DONE
Latin Extended A - DONE
Latin Extended B - DONE
Greek and Coptic - In Progress
(Work in Progress)
This is a larger variation of my smaller 8-bit Nostalgia series, and assumes 16pt rendering. It's inspired in large part by the computers from my past: the Commodore 64, Atari, and IBM PC. In many ways, this font is closer to the font used for VGA text -- this font is on an 8x16 grid, while the VGA used a 9x16 grid. However, the VGA font has more letters with serifs, while this font avoids that whenever possible (aside from the typical I/i, L/l, J/j). Only a few other glyphs get serifs when they wouldn't otherwise need it to appear reasonably well-kerned.
This font uses an 8x16 pixel grid. The top three rows are reserved for ascenders and diacritics. The bottom four rows are reserved for descenders. This leaves nine rows for the capital forms, and seven rows for the lowercase forms.
Notable glyphs:
- The "A" and "V" is angled a bit more than usual in a font of this type.
- The "B" has a narrower top half in order to offset the fact that the top and bottom are equal height.
- "J" more closely resembles its lowercase form.
- "g" is a double-story form.
- "3", "4", "5", "6", "9" numerals are fairly unique forms
Pixel prototype of a font for an upcoming game being developed by yours truly. This will likely be used, but only for flashbacks and dreams. The normal ingame font may be a high-res version of this, or something different - tests are still being done to determine this.
English only for now, as there are no plans to localize the game myself.
"Madufaros" = "daughter of Madu".
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Original size: 9pt (use multiples of this size for pixel perfect rendering)
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.
Work in progress …
Planning only to track down some bugs in the FontStructor, I was suddenly struck by similarities between the random shapes I was placing on the canvas and images I had stumbled upon recently on the web – I think it was in this article in the Guardian.
The images were of Peter Womersley’s modernist design for “High Sunderland”, fashion designer Bernat Klein’s erstwhile home, near Selkirk in Scotland. I wasn’t at first drawn to the modernism, but to the promised description of the experience of living in a house which was visually so open to the outside world – although ultimately the article wasn’t especially enlightening on that point. Later I found more extensive sources of images of the building on the web.
Working on this was the first time in quite a few years that I have been possessed by my own, earnest FontStructing rush. I was very pleased to find that the FontStructor tool still works as well and simply as it ever did – allowing for a uniquely swift and unimpeded creative progress through a set of modular glyphs.
The basic grid for each letter, based on the characteristic modules of the building, is topped by a slightly heavier bar and so slightly asymmetrical in the vertical, like the structure of High Sunderland itself, but it is essentially square and consists of six parallel horizontal bars.
In the FontStruction, the emphasis is on these crossbars – with every effort made to avoid partial horizontals and additional vertical lines, especially for the basic latin alphabet. The font is essentially unicase, with some variants in the lower case.
At one point I noticed that there are some window panels in High Sutherland which do have a single, thinner vertical divider (for sliding open presumably) so I used this for the middle legs of the M and W. After completing the initial FontStruction I also noticed in photographs of the building that there is at least one window with multiple vertical subdividers, so maybe that can form the basis for a new grid and a new FontStruction (High Sutherland B).
Things started to get fun for me when I got into the punctuation and accented letters. I saw no alternative to adding additional verticals for the hash, the percentage sign and some other glyphs.
I really like the percentage sign, although I’m not sure how legible it is – but I guess ultimately that it is an issue with the whole font.
When it came to glyphs with unavoidable diagonals – such as the slash glyphs – I went for a stepped approach, which I think is basically a good one, maintaining the emphasis on horizontal lines, and suggestive of musical notation – but the steps are a bit sloppy. I probably need to revisit them.
I’m not sure about applications for this FontStruction. Maybe it would be useful to someone intending to erect their own mid-modernist dwelling in the hills, or to someone planning to put up some new shelves!
Version 1.1 - Added Polish.
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A font for times when Immersive Mode is turned off. This is used for documents and signage within the Euphedoran Extradimensional Research Institute situated in Euphedora, Greater Azwelkeland, Planet Ashr within ESOSVM.
EERI is known for Fengmiao Fukota, Salva Dheen and Triste Marinan, three of ESOSVM's most-learned and chronologically oldest AI characters. The lattermost of these is often consulted (through a software called MIDAS) for analysis which I use to improve the readability of certain fonts.
Inspired by a type identification request over at Typography.guru.
During developement, the tool has taken over, also helped by the scarcity of letters available in the original, making the design more sans than serif, and with strong MICR vibes in some places.
The name means "shoe shop" (also shoe repair or shoe making) in Italian.
At the moment the language coverage is limited to Western Europe.