In the font preview window above, click Pixel and then Shift+Pixel 4 times to see the full effect of the font.

I remember from back when I was learning Japanese, that the stroke order in writing hiragana, katakana, and kanji was important. I didn't get very far in my Japanese studies, but even then some of the kanji were like 17 strokes each, and each with a specific order of marking the strokes. Thinking of what would be appropriate for a number competition, I recalled the number and order of strokes per glyph idea. Hence, this font. 

The idea brought with it an inherent textfont sensibility. Deciding on the slope of the diagonal strokes was tricky as they rendered those letter either too wide or too narrow. The correct choice was a slope with a flat top or bottom. That allowed the width of the letter whatever I wanted but the flat top took away from the natural marking of the stroke, as in: no one actually writes an A with a horizontal top stroke. Settled on the current slope and width. Still, the letters came together fairly quickly; the kerning not so much. Whether they were adjusted or not, around 10,000 kerning pairs were checked. More than 2500 kerning pairs are included here...and many more still remain. How good or consistent the kerning is is for other's to judge.

Some of the glyphs are quirky, I know. There are already hundreds of thousands of exceptional standard text fonts. No point redoing those. 

Due to the need to show the strokes individually, the font came out as stencil. That was an unintentional byproduct of the idea.

Some strokes are split in two to show distinction between the crossing strokes, but technically they would be continuous. 

The strokes are based on my own handwriting style; others may do it differently. For example, when being careful, I write the Z in three strokes, whereas I suspect others probably write it in one. 

This is not a color font even though it is auto-charcterized as one because at one point I experimented with making the stroke-order numbers gray. I thought about copy-pasting the glyphs in a new FS, but the follow-up thought of having to redo the kerning quickly put a stop to that madness.

For best view of the font, download & install and check out some long block of text in Word with kerning turned on. (This articles explains how to activate kerning in Word.)

Feel free to use or give donate <3

please clone this if you want to extend this.

NEW UPDATE!!!: added more latin fixed 0-9 and added greek 

With this font I aimed to make a visually strong font that could also be used in longer text (a la fonts in Mega Man games, which were one of the inspirations).

hello people this is my first attempt at a font, feel free to private message me if you want to use it for anything. i intended this for use with old style games but you can use it for anything as long i'm credited for my work 

Mastar Font - Still Work In Progress and Not Finished although I may be reaching the size limit for a fontstruction...

This typeface has been created around the theme of community. In particular I looked at referencing the idea of the online/digital communities that we have all become so reliant on due to COVID-19 and being alone in isolation. I researched into the effects of lockdown on various peoples screent time and interviewed them, then used this as my thesis starting point. To create the concept, I experimented with different symbols that represent digital connection for example; wifi, signal and battery. 

An Arial Narrow clone to make Arial Narrow a little bit narrower.

A plain vanilla font using a curve I rather liked for the u

A font designed for small sizes. Blockle is my most readable text font yet.

I built this to have the least possible padding at the top of a button.

Another attempt to make a usable narrow monospace programming font.

The 8/6 block thick version

My first attempt at a font for reading text.

My second attempt to make my own block set

This is the 7/6 block version. I've been liking this weight for programming at size 8.

Friendly Geek:
 Good for...
  - Labels
  - Upper case
  - Code
  - Table cells
  - Outlines
  - Display
  - Printing
  - Informality

 Not Good for...
  - Normal Text
  - Sentences
  - Formality
 
 Sometimes Good, Sometimes not...
  - For each display screen size, one or two weights work well

I have changed the 'h' and the '+' to work better for programming. Changed the 'F' to make it more clearly different from the 'f'. Before it was looking a little bit like lower case somehow.

Work-in-Progress …

Work in progress : )

For the moment this is the final version of Syngrapheis, reasonably extended. I'll add basic Greek and basic Cyrillic later because I think that the glyph shapes will look good in those writing systems. I've changed the 'g' since the sampler. I wish to offer this version to Google later so if you see any mistakes, strays or breaks etc please let me know.

Friendly Geek is the regular version of Friendly Geek Light. Its widths are all 6/6 block rather than 4/6 block. The outlines of the glyphs have generally been left the same, with the insides being filled with 2/6 extra width.

Here is my fourth attempt to make a narrow font that accentuates diagonals. It seems to be a good programming font at size 10. It makes it surprisingly easy to read upper case consonant names.

Design is as follows:

Monospaced of course, because code pretty much requires this. Code fonts are built for both reading and editing, and when some letters are very narrow like the i and l in most fonts, that makes them very hard to select with a mouse and therefore very hard to edit and makes these fonts very hard to use for programming. In addition block cut and paste is important for programming and monospaced is required to do this easily.

Small sizes need to be easily readable. Sometimes you need to be able to see a lot of code on one screen.

Two Dimensional - designed for two dimensional grid-like work such as spread sheets and programming. Lines to draw reader's attention vertically are preferred over lines to draw reader's attention horizontally (as in most fonts). That makes this font more difficult for reading text and less difficult for reading code.

Glyphs are wide in the center of each letter so that diagonals and crossbars are easy to see, and narrow toward the top and bottom so that the characters pull away from each other and are easy to tell apart.

Bodies of the lower case letters are made relatively tall so they are easy to read in code, yet maintaining a clear difference between the height of the lower case and upper case characters - very important.

From top to bottom: 2 blocks upper diacritics, 1/6 block space, 2 blocks stems and upper case, 5.5 blocks lower case body, 1/3 block space, 2 blocks lower diacritics.

Clear distinctions exist among the members of each of the following groups of glyphs: ({[  ])}   Il1  aes   Ss56$   Zz217?   `'   .,   uUvV   coCO0D   pP   ;:   ~-  to help tell exacty what each glyph is. This is critical in programming.

Numbers are really large. It doesn't hurt at all for numbers to stand out in programming. This is ok because numbers never have diacritics. The 7 has a bit of a scoop so it does not look like a 2 when underlined.

Vertical alignment - The pairs {}  ()  and []  line up precisely vertically.

The dots are large and distinct so they show up easily in code.

Large numeric 'operators' +-/\%^~=* are easy to read in code.

At least one block touches the right edge in each glyph so that Visual Studio can figure out what's going on. This also means that many glyphs do not touch the left edge and some narrow puctuation glyphs have a tiny extra block off on the right edge.

Floating a little bit above the zero line helps in dealing with underlines.

Avoids horizontal strokes to reduce problems with pixelation at various sizes in various programming tools.

Sans Serif (mostly) so that you can cram glyphs together more tightly.

Also:

Diacritics have lots of space since the area above and below the capitals is more than 2 blocks, so they can be added later on.

Looks scripty - There is a bit of a scripty thing going on because of the wide bases for the lower case i and l, so this is enhanced a bit in the I, J, S, U, Z, f, t, u, z and s.

Narrow enough to be mistaken for an informal text font although since it is designed for two dimensional work, simple lines of text are not that easy to read.

A little too thin - A little bit too thin to be easy to read on a pixelated screen below size 10, although it does print very nicely, so I am labeling this Friendly Geek Light, and I am building a Regular and a Bold font also.

Recent Changes:

Made the 'h' lean to the right to distinguish from the 'b'. Straightened out the '+'. Made the 'F' drop below the rest of the upper case to make it look less like an 'f'. Heightened the 'v' to make it smoother.

An "almost sans serif" text font with an alternate g on the § because I couldn't decide which g was nicer. I have made all Latin sets. This replaces one of my  computer's sans-serif fonts.

The Santa in the sample is one of the christmas-sy fonts I made.