A harsh 2-in-1 pattern font.

Font with a "light rays"/stained-glass effect.

An experimental pattern-fill design. Check it out at 2x Pixel size!

Supports Dutch, English, and German at present.

A banded version of Jungle High. Lots of brickswapping and manual adjustments were needed to make it!

A more patterned version of Jungle High. This will be used for the title screen text.

It also gives me a bit of a "casino" feeling with its diamond pattern and ornate appearance.

Font for the second remake of Jungle High, which was one of my first games. Originally for RPG Maker 2000, the game was later ported to Game Maker Studio for inclusion in Seven Candles Trilogy and is now being remade for the second time as a standalone game in a custom engine. This font was inspired by the original game's art (which I created) and will be used in the second remake.

This font makes me think of leaves and cabochon gems, both of which figure prominently in the games. Its slightly plantlike appearance makes it a good companion font for Goud, Junglira, or even Sahuagin.

Here we have a font made from hand-polished hipsterite rocks found only in the depths of the River Styx. These are the most expensive and most pretentious rocks you can find anywhere. This font is their punishment for existing.

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This is based on rounded rectangles, which have been the subject of a few conversations and in-jokes between friends. Because the rounded areas are rather small, this font needs to be a fairly large size to present the full effect.

A hybrid font made for a friend's game.

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See also:Fuzzy Logic

A multiline pattern-fill design that looks like fish scales. It is a very functional multifont, especially at smaller sizes.

The spurs, stems, and line motion add subtle detail to help identify each letter. Additionally, some custom bricks are experimentally combined with the macaroni bricks to preserve the pattern while also forming the curves.

A font made so that both rows and columns of letters can run into each other and form a continuous chain.

DNA-esque doodle.

WEAR GLOVES when handling this font.

A logo font for Zephtronix, the name used for my music electronics-related projects. This will be printed onto guitar pedals and maybe a synthesizer or two!

An attempt to make a design with the pointy bricks. It reminds me of broken LCD displays, but also looks like it's in the middle of transforming into something.

Experimental cloud flower doodle thing.

While this looks bizarre, it creates some unique effects. It is also visible at FAR smaller sizes than any other font I have seen. Check out the Pixel view to see. Interestingly, this superb readability is lost once the font is enlarged from this size.

I haven't figured out what to do with the numerals yet, and only put the placeholders there so I could get a better preview on my page.

Paradoxy Effect, now with more dots.

By request. This is the Shepard Tone of fonts - constantly rising and falling. Best viewed at around 2x Pixel size.

I was initially going to do a lowercase for this, but then the requestor changed their mind. So this being published as-is.

This is your medicine. YOUR medicine! So if you don't like the taste, maybe don't drink it.

Is it Serif or Sans? Western or Gothic? Double font or not? One thing is certain: This is not a time-travelling alien. Probably.

Instant Stratification! This font has it, and it's yours for the low price of NOOOOOOOTHIIIIIIIING.

Font for Razma TV, a procedural TV show generator.

This has already proven quite useful for making scanline art!

By request, a "junk font". Looks pointy, glitchy, fuzzy, janky, grungy, burned, rusty, distressed by power tools, or some superposition of ONE OF THESE OR MORE, depending on the size used and the rendering effects (antialiasing, smoothing, etc).

Rather than force the letters into convincing classical forms, I focused on making sure each letter was thoroughly scrambled. This design could in theory be used with an image-recognition script in order to be put to cryptographic uses... the result would be fun, but not very efficient or crackproof. UC is the same as LC, at least for now.

The original brick-of-bricks is located on ".". This is the template from which the other glyphs were made.

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Design Rules:

1. Up to 25 distinct bricks from the palette may be used in the overall construction.

2. Each glyph will incorporate a heterogeneous mix of these bricks.

3. Bricks may not be flipped, rotated, stacked or composited.

The original Scaffo Stencil - the plain version.

Swapping between the two produces an interesting effect which I'd like to explore more.

A skeletal design related to Candylander, Nyandotte, Straplander, etc. This one works as a stencil and reminds me of dazzle camouflage! There's also a plain version of this which looks much neater and less harsh, but I like this one more.

A variant of Radio Grave which took many hours to produce. I think the effort was worth it! This is a functional Multi-font and can produce a broad range of effects, especially when used at down near the original size.

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Shading Rules:

1. Use the darkest tone on the outermost concentric region and get lighter as one progresses inward.

2. Let the 5x5 region surrounding the exact center of each glyph use the lightest tone, except when this would place the lightest tone into its neighboring region.

3. Glyphs with diagonals and glyphs which use a smaller than 5x5 drawing area may bend rule 2 for the sake of more consistent and/or interesting shading.

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See also: Fuzzy Logic

Original size: 12.75pt (use multiples of this size for pixel perfection)

When life gives you halflemons, make Halfade!

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This is what I call a Plain Spurless design. There are no actual spurs, only right-angled corners to suggest spurs. All lowercase letters are like this except r, which is a Rounded Spurless because it needs to curve to avoid looking like Γ, and because it's only 2 bricks wide so there's no other place for it to curve.

I made this to have mostly right angles, to have a condensed look (see filrt), and to be good for speedreading. My own experiments in speedreading favored glyphs with simple curves which don't terminate in small arcs (see CGJSZfgjrsyz@()[]{}). There are exceptions (c2369?$) because these are more recognizeable when they have such arcs. Additionally, glyphs such as BPRXY have slightly rounded counters near the vertical center, which enhanced their readability without causing them to look out of place.

The remainder of design considerations were things which are fairly idiosyncratic and unlikely to be discovered by others. For instance, the descender of Q is 2 bricks, while lowercase letters' descenders are 3 bricks and symbols' descenders are 1 brick. This is the result of a technique that attempts to visually codify different cases & types of glyphs. The slightly different contours thus formed by each word on its underside seem to enhance both readability and aesthetics.

Welcome to Orwellian Barcode Prison, antithesis of Chicken Wire. The only thing to do here is squint.

Hollow version of Radio Grave. Though it's not a cipher, it does have a cryptographic look about it...

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Original size: 12.75pt (use multiples of this size for pixel perfection)

A multi-outline design with intentional aliasing.

At the original size, it looks nicely textured. The illusions become more harsh as one zooms in.

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Original size: 12.75pt (use multiples of this size for pixel perfection)

By request, a "waffle stencil".

This is an E6x6 broken into nine 2x2 fields. The larger and the more precisely cut it is, the more readable it becomes!

Telos Unicase with overzealous antialiasing applied to it. It looks as if it were automatically antialiased by 16-bit hardware - a bit smudgy, almost pencil-shaded. Check it out at 2x Pixel size!

Despite its simple looks, this font is just about the densest thing I can create on a 5x5 grid without obfuscating the letters themselves.

While using this font I discovered some unforeseen uses for shaded styles such as this. Since the "antialiasing" occurs in only one shade and never overlaps or replaces solid pixels, it can be easily mass-selected. One can quickly and easily recolor sections of the font, convert it to the non-antialiased version, or clone the layer the translucent pixels are on and achieve more interesting effects.

Experimental font doodle made with the pizza slice brick. It reminds me of the keeled scales of a viper.

This creates many distinct visual effects depending on size and coloring!

While walking through Glitch Forest, you spot a sudden movement behind the Sprite Trees. It's [EVIL_ANGATONIST]! With a twisted smile, s/he/it converts your words into text written in this font. ZOUNDS! How will you get through summer school now?

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This was made to reproduce an amusing glitch found in MIDAS which caused insanely high ratings of 17.3×10^213 (17.3 septuagintillion). The glitch has since been fixed.