This is something I've doodled on for a while. I'd like to incorporate shapes other than triangles and rectangles into this but I'm just too busy with other projects. Feel free to continue it, make it better, or whatever.
I had help from BWM for suggestions to improve a lot of the glyphs. Thanks, man!
Version 1.3: Added Polish.
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This font used to be a normal Decolike... until someone decided to chow down on it! They seemed to prefer the taste of spurs, as all of them have been bitten off, leaving only semicircular impressions.
"Nervousa" is an anagram for "Ravenous".
A quirky Pseudostencil design with a central horizontal slot going through it. The "slot" is 1 brick tall for lowercase and 2 for uppercase, and becomes a vertical slot for numerals and certain symbols.
This is named for the cowboy and lasagna emojis. These were repeatedly added to then removed from several popular chat clients and websites. Changing emoji standardization or government conspiracy? YOU DECIDE.
Version 1.1: Improved several letters and numerals.
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Structurally, this is sort of like a fusion of Ghost Town & Lasagna Cowboy.
I wondered what a plain version of Candylander would look like, so I made this. :D
I think a fully half-arc version could look even more stylish than this! Hope to find time to create one soon. (EDIT: Done, see Migrator)
This is a clone of CandylanderExperimental brush/pen thing. Has a slightly spooky look. Because of their tapering curves, many glyphs can render with a "split" or "stencil" look about them. This is due to software-imposed limitations on vector rendering. Designs which share this property can be considered Pseudostencils.
This design is not informed or inspired by any existing typographical traditions. I set out to make the "claw" bricks (as I call them) into a font and this is the result.
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My attempt to do something different with Structurosa.
With such a small grid and such a distinctive look, it was hard to alter the concept without turning it into something else. The fact that I didn't bother looking at any references save for the FS logo itself probably didn't help. Out of all my experiments, I thought this one looked the best and most original, so here it is.
A design that combines decolike asymmetry with a double line concept. It also incorporates some experimental methods to unify the wider glyphs (mw@#™, etc.) with the others, by allowing the middle sections of these letters to have both the single and double lines. This results in a look that is at times architectural and at other times almost like loopy cursive.
An experimental logotype and another attempt to create a distinctive design in 2x2. Some words look better than others... it's best for 1-2 word phrases rather than body text.
"B", "P", and "R" are compromise designs... no satisfactory way exists to create their curves while maintaining the optimal line width, so their counters were filled a bit to give them the same sense of solidity as the other letters.
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A "denghon" is a giant, many-limbed, extradimensional creature found throughout my games, especially ESOS.
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.
Experimental mosaic... or maybe a new mineral species?
This one started as a doodle. I began placing circles to see what kinds of complex shapes I could make, and this was the result.
It achieves a new visual effect at almost every size up to the original. Also try slowly moving the zoom slider for some interesting animations!
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This font is now nearly 1MB in size! I guess it has to do with the intrinsic complexity of circles.
The Zephiest of designs - a gaggle of Roman columns with gongs stacked on them.
SPOOKY GHOST FONT. A work in progress. Getting the right spooky apparition look is pretty intensive, but I managed to finish the basic character set before Halloween. :D
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This started as a 5x5 design. After realizing S and Z would look far better if I made them 1 square taller, I converted the whole font to be roughly 5x6. At this low resolution, it's hard to get the degree of irregularity which I think makes these letters look ghostly... but, the idea is certainly present!
This design seems like it'd fit in with a lot of horror and science fiction stuff, too. Apart from the "smoky"/"ghostly" look, it has a "melted" one which suggests a hot place or maybe immersion in acid. It also looks a bit like slime, and finally at smaller sizes it has a glitch-esque appearance.
An evil electromagnetic zigzag tape reel. Looks almost embossed, as if the letters were "pressed" into the waves somehow. In that way it reminds me of old hand-operated label makers. It also makes me think of electricity, TV static, ocean waves, tire tracks, fractured glass, and more depending on font size and color.
The name is inspired by an attack from a notorious NES game, "Dr. Jekyll and Mr. Hyde".
The original Scaffo Stencil - the plain version.
Swapping between the two produces an interesting effect which I'd like to explore more.
This is a clone of Scaffo StencilA design that looks like a top-down view of ziggurats!
I composited the diacritics so they'd fit into place, but this means that most anything non-English needs to be pretty large to be unambiguously read...
Original size: 15pt
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A font which has a spurless, sans-serif, pixelated polygonal look which is somewhat reminescent of fonts used in VHS technology.
A lot of applied science went into this design. It's designed to remain legible on all media in all use conditions, provided that one uses the original size or a multiple thereof. Numerous technologies and mediums were employed to realize this objective.
"Diaspora" was tested and refined for use with/on/against:
• CRT, LCD & e-Ink screens
• image formats & compressed imagery (GIF, JPG)
• printers (inkjet, bubble jet, laserjet, & thermal)
• analog video & multi-generational copies (VHS, Super 8)
• digital video (AVI, MP4, MPEG, WEBM, WMV)
• 3D and voxel models (Blender, MagicaVoxel, POV-Ray)
• dynamic scaling hardware (game consoles and capture devices)
• imagery plugins & filters, including image degraders
• image scaling/interpolation hardware & software
• image recognition hardware & software
These all have traits which degrade, distort, compress, glitch, or otherwise alter imagery in various ways. This design aims to minimize the loss of legibility from these effects and to attain the best scores possible in various forms of imagery analysis. So far, this has proved extremely useful, as it can remain fully legible even when extreme JPG or video compression are applied to it thousands of times.
A piece of software I helped write, called the Marinan Imagery Deconstruction AI System (MIDAS), is being used on captured images of this font. The end objective is to realize the design which has the best all-around Marinan Interpretability Value (MIV) for all the tested platforms - the design which is considered by MIDAS to be the most legible in the most media under the broadest range of use conditions and quality levels.
MIDAS uses a set of considerations made with both humans and computers in mind, so a high MIV does not necessarily equal a better font - it just means one that the system thinks is easier to visually interpret. Note the use of the phrase "visually interpret" as opposed to "read". MIDAS tries to determine how well people and computers can tell what shapes are, not how much enjoyment they'll get from reading or how much strain they might undergo while doing it.
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VERSION HISTORY:
1.0.0 - initial release.
1.0.1 - More Latin support added.
1.0.2 - First batch of tests run.
1.0.3 - gjy5&ßẞ were improved, some glyphs added.
1.0.4 - Second batch of tests run. Space width reduced.
1.0.5 - Experimentally converted to a rounded spurless design, then converted back to a plain spurless after testing. A few new ligatures were added.
1.0.6 - Cyrillic and Greek enter development. Many of these letters must be altered to be distinct from their Latin counterparts.
1.0.7 - Some spacing values changed to increase internal consistency. More difficult tests are being devised. However, since only I seem interested in this type of work, this project is going on hiatus for some time.
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See also: AMFA, a font built with similar considerations in mind
A dashed line design made with the new half-arc bricks. The emphasized spurs/stems and off-kilter geometry give it a quirky, almost handwritten quality. Its striped appearance makes me think of candy as well as the Cheshire Cat, thus the name. :D
I doubt the upper case would look as cute as the lower. So I've cloned all LC to UC to make this easier to use...