A pixel font made to look like fire! Now you can answer (and ask!) your burning questions...
Drawing and editing these takes more time and effort than most other forms of pixel art. Don't expect them to look perfect without some time and effort from YOU, as well. An effect like this requires hand adjustment of every part at every stage.
The coloring, infill color, and effects you use with this font make a drastic difference as to what looks are evoked by its shapes! Scroll down for lots of examples. :^)
Alternates on lowercase!
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TODO: Alternates for .,?!@_*#$%&()+/:;<=>[\]^`[|]~†123456890
Original size: 18pt (use multiples of this value for pixel perfection)
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Welcome to Tridisaster. It's ALL TRIANGLES, ALL THE TIME. Welcome to Triangle Channel.
Mathematical operators have a distinctive "open" look to help set them apart. There are few exceptions (like ^) because these symbols are used in many non-math contexts.
The only one I'm not sure about at this point is the comma, which works fine for my purposes, but probably makes this font a pain for anyone who tries to read/write at length with it. XD
All Basic Latin is kerned for both cases! Use a mixed case to create weird alien scaffolding! Inverted ",." can be found on "µ¶".
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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 pixel font which combines four experimental techniques at once:
1. Structurally disconnecting the stems from the open parts of letters.
2. Allowing glyphs to extend beyond the reaches of width and starting position.
3. Designing glyphs specifically to connect and form new shapes, rather than simply allowing shapes to emerge from existing characteristics.
4. Designing glyphs so that the overall font is free of a need for kerning.
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Alternates are now on UPPER CASE. I'll continue to update this as I get more ideas!
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Original size: 6.75pt (use multiples of this value for pixel perfection)
Experimental 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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Alternate take on Nirvanite, this time with bullseyes rather than solid circles as the large segments.
This one is a lot more organic than its predecessor, but also a lot more confusing. Looks like clusters of alien tadpole eggs to me!
This is a clone of NirvaniteA double-line style with a twist. Named for the Exage Viral Armada (EVA), a mutagenic virus featured in several of my own games and stories. EVA causes rapid limb bifurcation and the spontaneous generation of butterflies, both of which can be seen in various glyphs from this design.
The exact rules for this are somewhat complicated, and based on structural as well as visual analysis. The basic idea can be seen on glyphs like k and x: Closed loops (double line) are joined by single lines which turn back on themselves to create the illusion of more lines. Of course, this idea had to be modified for most of the other glyphs, for the sake of stylistic consistency and visual interest. Particularly, almost all the spurred glyphs have the double-line structures open up to form the spurs.
This is a cloneI decided to make a design which incorporated the thinnest/lightest weight lines possible in FontStruct. This is the result; I'll add more if people like it.
These 1/32 lines cannot be accurately nudged, so a unique line has to be built for each vertical position where I want a line. These lines also cannot be centered on a place where two curves meet (such as the middle of B or R). This introduces some unintentional asymmetry to the design, but I like it, so I'll keep it.
There is also the problem that forming a diagonal line of the same line weight is nearly impossible. While angled 1/32 lines can be formed, their angles are all close to 0. No method exists for making a line which slants at 45 degrees while also being 1/32 weight. So, I had to make some thicker lines in certain areas. I don't think they detract from the design, but if you scrutinize this enough, you'll notice them.
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.
Version 0.2: Improved all glyphs, added More Latin, changed name to "Letsago".
TODO: Make line widths more consistent, especially on numerals.
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A friendly, but slightly obtuse font. I think these polygons are the smallest and simplest ones which can be made with stock FS bricks and used to create glyphs with a truly circular appearance. This only works up to a certain size before the look reverts to that of a polygonal sans-serif, but it works very well up to that point!
This is the culmination of knowledge gained from several other experiments, such as Marginalia. It should be very difficult to make a smoother font from this at the same grid size while still using stock FS bricks.
Some kerning is done, but the majority of it will be done once every glyph is considered to be perfected. For now, you can use vector software (like Inkscape) to manually kern pairs.
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 BLACKLETTER THING or EBT (codename "Chimera Spine") first came into AMFA custody on July 23, 2018. As of this time it is still considered to be non-dangerous. Study of EBT has proven that there is a relationship between its venomous barbs and English letter frequencies, with more common letters being especially likely to have these barbs. The venom itself, while not lethal to any known form of biological tissue, has [REDACTED] effects on the human psyche.
An attempt to produce a low-resolution pixel font which generates mazes from arbitrary strings of text. It requires the use of negative line spacing (available only to certain software) to look right without hand-editing.
The mazes it produces aren't the best, but they are definitely interesting! I might just call this a cipher and be done with it...
A form of alien mirror-Latin which the wizard Iacedrom used to summon mustard spirits. Looks like a forest which grew while subject to radiation poisoning.
If you make any ambigrams with this, I'd love to see them!
The first of a kind - an experimental font made with the new pizza slice brick. :D
Somehow it makes me think of jukeboxes, particularly letters like "A" and "O" which have the same sort of "mosaic lighting" look which many jukeboxes have.
No filters, just nudging!
Iteration 4: Basic Latin kerning finished.
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DOODLE DOODLE DOODLE!
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Design Rules:
1. Letters with spurs will have the spur begin at the baseline. This provides the distinctive "high heeled" look.
2. Any letter whose traditional design has a straight vertical line on its left side will keep the line, no matter how the lines of the actual letter travel.
A font which uses some custom macaroni bricks. This one has the same kind of structural asymmetry as Phenomenologist. Angles and corners on the left are almost always sharper than those on the right, which gives glyphs a structural asymmetry as well as a sense of rightward momentum. This technique also imparts variation to some otherwise very similar letterforms (bdpq, mw, sz).
This is named for a species of android from Doctor Who.
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Other design decisions:
- Make the ascender height shorter than the uppercase
- Use squares for dots/diaresis and circles for punctuation, so that they are more quickly distinguished
- Allow the sharp curve and gentle curve to swap positions when it's beneficial to the glyph (BX8&)
- Incorporate angled lines into several glyphs so that none of the glyphs which have them seem out of place (SZsz012569*~$)
- Ignore the other design decisions for glyphs which need a standardized look due to their use in programming and other syntax-based forms of writing (most symbols & punctuation)
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.
A 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...
Iterated version of an unreleased design called "Midnight Oil". It's also slightly related to Dethzmezenger and Gehenna.
I went against a few of my own conventions for this one. The close spacing might look a bit strange at times, but it eliminates the need for kerning while also creating a unique look. The overlapping spurs make me think of thorny plants!
This is an original design, but it does make me think of Planescape: Torment when I look at it, thus the name!
Version 1.2
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A slightly futuristic and stencilesque design using halfwidth bricks.
The idea here was to make every glyph simple and minimal, not only in terms of overall geometry but individual line connections as well. Some glyphs are still more complex/less minimal than others, but I think it's a good amount of variety.
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.