Recreation of the large pixel font from Atari's "Super Bug" (1977) and "Fire Truck" (aka "Smokey Joe", 1978).

In the games, the font is incomplete. Both lack a "Q", "V" and "W", which I made from scratch for this recreation, trying to approximate the overall style/feel. The "J" is present in "Super Bug", but not "Fire Truck". Conversely, the "K" is present in "Fire Truck" only.

With the exception of the added letters, only the characters present in the games' tilesets have been included.

Recreation of the large pixel font from Taito's "Syvalion" (1988).

The original has an additional subtle 1px border around all characters, which acts as basic antialiasing. In this recreation, this border has been removed.

Note the "black circle" (U+25CF), "medium shade" (U+2592), and the round "target" character that has been mapped to "currency symbol" (U+00A4)

Only the characters present in the game's tile set have been included.

Recreation of the large pixel font from Taito's "Darius" (1987), also reused in "Darius II" (1989).

In the tile set for "Darius", the "$" was missing a few pixels - this was addressed in "Darius II", and this recreation contains the dollar sign from the latter version.

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 Climax Entertainment/Sonic! Software Planning's "Shining Force" (1992) on the Sega Mega Drive/Genesis.

This font is unusual, as each character not only comprises two tiles (for its height), but also features characters that are wider than the maximum 8px tiles. In the game's tile set, this was achieved by using a custom encoding, where a single tile contains the combined values for two horizontal tiles.

See this short Twitter thread for a little dissection of the tile set.

The width of each character is also variable and encoded in the bottom tile for each character. Unfortunately, I was unable to work out the logic behind the width information bits - so, for characters used in the game, the correct width was matched manually, and for any characters not encountered (yet) in any of the dialog boxes, I took an educated guess...

Due to the complexity of this encoding, I won't tackle the hiragana/katakana large font from the japanese release.

Only the characters present in the game's tile set have been included

Recreation of the large (16x16) pixel font from LJN/Software Creations' "Spider-Man and Venom: Maximum Carnage" (1994) on the SNES and Sega Mega Drive / Genesis. Only the characters present in the game's tile set have been included.

Cybersquare was designed to be a display font. The flat serifs and square counters give the essence of something old that is merging with new technologies. The name Cybersquare comes from the influence of Courier in code and the square nature of the letterforms. It is a typeface created using old ideas to look into the possible future. Cybersquare is meant to be used large on products such as posters and book covers.

Future Retro is a geometric typeface that has an implied roundness. The shape and contrast within each letter invokes a retro and a futuristic feeling at the same time. Future Retro is a sans serif display typeface with clear readability. Future Retro is great for large scale type in posters, signage, merchandise, headlines, titles, etc.

How many 45 degree turns can you see?

Recreation of the secondary large pixel font from Irem's "Air Duel" (1990). Only the characters present in the game's tile set have been included.

A rounded square design made for headlines as an alternative/companion font to Empty Magazine.

See also: Bonds of Force, This Machine Destroys Everything!

Self-symmetrical pixel fractal font. (x=3*Spx,y=25)

- ITERATIONS -

x=1 - ESOS Lite Terminal

x=2 - Amalgarmada

x=3 - Amalgarmada 2 & Fractal 2 by jonrgrover

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Original size: 131pt (use multiples of this value for pixel perfection)

Self-symmetrical/fractal pixel font. (x=2*Spx,y=5)

This is designed on 7x7 black boxes which act as superpixels. This ensures that inline and outline components are congruent.

Original size: 26pt (use multiples of this value for pixel perfection)

Version 1.5

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Experimental slab-serif. The added height from the serifs is quantized so that the serifs, rather than the normal lines, determine a glyph's geometry.

It reminds me of the Wild West and the old cartoon "The Jetsons" at the same time. It uses two kinds of serifs: normal slabs and "hangover" serifs. The hangovers are the ones that look like overhangs. Is there another name for them? I don't know.

This font is set to appear in several games at once! I'm not the developer of any of them! WOO

Despite what you may have heard, a "hoedown" is just a party.

My attempt at a headliner font. This is made to look very regular, even "generic", but also very clearly readable - the sort of font you might expect to see in advertising agencies, publishing houses, hospitals, and government buildings.

Uppercase only.

Use with kerning turned ON!

an Impact inspired pixel font

This is a take on a classic arcade font with crowns and points. Best used for large type.

<a rel="license" href="http://creativecommons.org/licenses/by-nd/4.0/"><img alt="Creative Commons License" style="border-width:0" src="https://i.creativecommons.org/l/by-nd/4.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by-nd/4.0/">Creative Commons Attribution-NoDerivatives 4.0 International License</a>.

Recreation of one of the pixel fonts from Video System's "Aero Fighters" (aka "Sonic Wings", 1992). This font is used for the pilot names and post-level taunts. Only the characters present in the game's tile set have been included.

large and in charge

A font where I tried to make everything top-heavy and right-heavy when possible.

Extremely blocky typeface, meant for large text of 36 point and up. Feel free to improve upon it!

A truly timeless typeface.

A bold pixel font I made. Hope you like it!

This font uses the idea of destruction to break up the individual letters. The effect of the destruction comes from a bullet going through each of the letters and not stopping, which is why the line is at the same level for each letter. The line is clean to show the speed in which the bullet would be travelling.