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)
The name Pos Ya is my original thought to when I finished the font meaning it's done, there, finally, it is in spanish. It is a long and skinny font that can be used in different ways. Experimented different versions and this was a top version that is stil legiable to use.
Grulla's letters –built on a 2x3 square grid– have (tri)angular counters & square terminals. Counterspace=letterspace, letter /f/ is kerned onto "rounded" letters (fc,fd,fe,fo,fs). Diacritics support spanish (hello from Argentina!)
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.
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.
This font is not a font, but rather a place where I can do experiments like large curves, things that only look cool in outline mode, and much more.
This is published and cloneable so you can see (and use) the experiments for yourself.
Capital A: Various sizes of circles approximated using a standard faux (pronounced like 'foe') bezier curve technique (top) and stock bricks (bottom)
Capital B: A thing that only looks cool in outline mode
Capital C: Approximations of diagonal lines.
Bottom (1): Simple Stock Brick method, using only two stock bricks.
2: Complex Stock Brick method, using three.
3: Composite method.
4: Complex composite method (4x4 composites)
Capital D: (Set filters to 2x2) I wish this was a stock brick / createable brick that didn't require layers or filters.
Ideas:
- Allow layers for non-patrons (maybe not colors, but at least layers)
- When stacking, don't revert the bricks to their original states
- Brick patching (T)
Capital E: Weird thorn brick pinwheel thing. I suppose the last one there is infinitely extendable, as seen in Capital F.
Capital F: Extension of the weird thorn brick pinwheel thing.
Capital G: Capital E but with fin bricks. The last one is also extendable (not shown)
Capital H: Two circles.
On the left is the largest one in the Capital A.
On the right is a slight variation that follows the rules of the circles: Any size circle should be able to exactly fit the one that's two sizes down. This one also looks marginally more consistent as far as stroke weights go.
Capital I: The snick bricks contain themselves.
Capital J: Sierpinski Triangle
Capital K: Capital E and G but with Snick Bricks
Capital L: Capital E, G, and K but with Half-width triangles
Capital M: If anyone wants to make this a font, be my guest.
Capital N: Original concept for Tloak (left), and the updated version (right)
Capital O: Collisions of the New Rings 1, 2, and 4, all offset by just a little, forming New Rings 3, 5, 6, and 7. Just like Binary. (i.e., if you combine 1 and 4 you get 5, or 1 and 2 make 3. Mixing all makes 7, the thickest one.)
Capital P: The capital C with composites expanded
Capital Q: Various approximations for curves at the tops of 1x2 slopes. You are very welcome.
Capital R: Zoom out and press 'O' while in expert mode
Capital S: Rounding the end of a diagonal
Capital T: Various brick patches using William Leverette's Brick Patching technique, found here.
New experiments go down here.
Suggestions and requests are allowed, but spam isn't.
Thank you, STF!
@SuIsJustBack4523721387: Weird flex but ok
(BTW, I can't comment or clone fonts)
Letters within letters! Type an uppercase letter followed by a lowercase letter to nest them. Type a period for an inner square, and > for an outer square.
This was an experiment from several years ago that I found half-finished while looking for potential CounterComp entries. I added missing letters and quite dramatically improved the existing ones. It's not perfect, and some combinations don't work so well (I'm particularly unhappy with capital I), but I think it turned out pretty well nonetheless.
Beware: for some reason, the downloaded font is huge-about 6 times the height of most other fonts-which makes it look horrible in e.g. MS Word, due to the pixel optimization at "small" sizes. I'm not sure what causes this, and consequentially, I don't know how to fix it.