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!
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.
This font contains almost every number series used in separate groups. This font is similar to Emigre's Lo-Res Series (Number 15).
The UniGraphic Series features new groups of digitized series based in Orlando, Florida (prior to its number serie). By number 10s, 20s, to the 30s, to be exact.
This font contains almost every number series used in separate groups. This font is similar to Emigre's Lo-Res Series (Number 15).
The UniGraphic Series features new groups of digitized series based in Orlando, Florida (prior to its number serie). By number 10s, 20s, to the 30s, to be exact.
This is a clone of UniGraphic 26 MThe year is 2020. Oni is still making futuristic-y fonts. I was told there'd be flying cars. The future lied to me.
Contains support for:
All modern European Latin langauges (Full Latin-A character set), Cyrillic languages (Russian/Serbo-Croat/Bulgarian/Macedoian/Ukranian/Belarussian), Greek
Formerly known as Cricket Pie, this font offers a fancy handwirtten, high-res, variable width style for new-style adventure and role-playing games. Not only just that, it might be useful for writing documents and taking notes! Original fonts by ©Square Enix Co., Ltd./Nintendo. Hiragana and Katakana fonts are coming soon!
Trying to achieve maximum readability and symbol differentiation within a reasonable size.
This is a clone of CatseyeCode7x15RPixel 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".
*
Original size: 9pt (use multiples of this size for pixel perfect rendering)
Recreation of the main pixel font from Nintendo's "The Legend of Zelda: The Minish Cap" (2004) on the Game Boy Advance.
This is the proportional variant, as used in the game's intro and dialog boxes.
A handful of characters - ™ trade mark sign (U+2122), ♪ eight note (U+266A), ❤ heavy black heart (U+2764), ▶ black right-pointing triangle (U+25B6) - had very subtle antialiasing. In this recreation, it has been removed. The tileset also includes two different sets of double quotation marks (which are not used in the game itself) - the "fatter" ones have been mapped to heavy double turned comma quotation mark ornament (U+275D) and heavy double comma quotation mark ornament (U+275E).
This font includes a full set of hiragana and katakana characters, with custom glyphs for characters with a dakuten and handakuten. The game itself also uses a series of complex kanji characters (particularly in the introduction). Some of those characters are also wider than the default 8 pixel tiles. These have not been included in this recreation.
Only the characters present in the game's tile set have been included.
This is a clone of The Legend of Zelda: The Minish Cap (Mono)Recreation of the main pixel font from Nintendo's "The Legend of Zelda: The Minish Cap" (2004) on the Game Boy Advance.
This is the monospaced variant, as found in the game's ROM and as used in the initial character name entry screens. In game, the font is then used proportionally - this will be provided as a separate font recreation.
A handful of characters - ™ trade mark sign (U+2122), ♪ eight note (U+266A), ❤ heavy black heart (U+2764), ▶ black right-pointing triangle (U+25B6) - had very subtle antialiasing. In this recreation, it has been removed. The tileset also includes two different sets of double quotation marks (which are not used in the game itself) - the "fatter" ones have been mapped to heavy double turned comma quotation mark ornament (U+275D) and heavy double comma quotation mark ornament (U+275E).
This font includes a full set of hiragana and katakana characters, with custom glyphs for characters with a dakuten and handakuten. The game itself also uses a series of complex kanji characters (particularly in the introduction). Some of those characters are also wider than the default 8 pixel tiles. These have not been included in this recreation.
Only the characters present in the game's tile set have been included.
Version 1.1 - Added Polish.
*
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.
** 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…
Sev Seg Non Sym © Aaron Wolff. All rights reserved.
The FontStructions that are created and/or made available on this Site are the copyrighted work, of the respective creator.
This is a clone of Curved Seven Segment