"There is no spoon."

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A remake of an older font of mine.

I think it looks better now.

See more:

https://www.fontstruct.com/fontstructions/show/522360/alphane

https://www.fontstruct.com/fontstructions/show/138958/honest_1

https://fontstruct.com/fontstructions/show/1592397/amyn-1

https://fontstruct.com/fontstructions/show/671570/shu_ling_regular

https://fontstruct.com/fontstructions/show/16702/7by5angles

ABC It's Easy as 123

5x8 Mono

Being my first creation, this is a simple font of clock-like, digital characters. I made this font because I couldn't use all the other digital-like fonts I've found for commercial use, so I figured I'd just make my own! (And since I wouldn't say it's too good of a font, I've set a simple license.)

Some were a little tougher and don't technically follow the rules a digital clock would, but it's much better than them making little to no sense.

I may end up remaking this font with it being more high-quality and better overall, but I have no serious plans on doing that just yet. (Perhaps I've made a second version as you're reading this and I forgot to remove this part!)

A pixelated font.

How do I change the title.

A digital-like pixel font that follows a strict pattern for its designed characters.

The "@" character illustrates the pattern used and is intended to act as a dark background for the lit characters to be displayed on top.

Digital Mayhem is a thin, blocky typeface.

Spider Fangs is a blocky style with some pointy edges and a pinch of digital texture. But be careful, you could get bit and poisoned.

Techno Gremilin is a fun little font that has a sort of retro style with some eyes added for personality

ENJOY

Prévenir is based on repair prevention techniques in our devices - how proprietary screws are locking us out of being able to look inside and fix our things- creatinga physical seal. The idea of the typeface is to take a bitmap font, where the building blocks are easily visible and understandable, made pixel by pixel, and then add a 'seal' by making all the edges curved, obscuring the font making process. 

The name 'Prévenir', french for prevention is a play on 'Avenir' a font used by Apple - a company widely known for their repair prevention strategies.

Bold version - Prevenir also exists in regular

Welcome to the Future...

Dramatics aside, QUANTUM is a visual display typeface designed to convey one cyberpunk future out of many.

It is intended to be built as a monospaced font (however, spacing errors occurred, and it is a faux-monospace as a result), made on a 9x10 pixel grid out of a personal fascination with the vision of the cyberpunk future  according to the 90s and a desire to capture the "spirit" of the original Sony PlayStation. One of the leading sources of inspiration is the work by The Designers Republic (tDR).

This typeface not only features Latin characters, but also Cyrillic, Greek, and even a few Coptic characters for good measure (in hopes of easing in the old world into the future)

Still, work in progress. USE IT AS YOU LIKE!  

(and use it, but please credit me! and improve however you want!)

FORWARD- I wanted to create a font in which felt like it had movement. I also wanted it to relate to codeing and glitching, so it had a technical feel. This font connects together, even when re-arranged. This was put in place to lead the viewer through the text so that they felt they were being lead into a digital world. I wanted This Font to be Energetic and hectic, and i feel like ive done this with the use of smaller pixels breaking up the thicker and more readable lettering. 

Will aim to do more latin characters

Another font Inspired by a Lumines Song.

You're In The House!

Recap of a retro computer type lettering that appeared throughout the 70's and 80's as the word "data" on various brochures, envelopes and memo's by Dutch multinational human resource consulting firm Randstad.  Most of which I guess were designed by Ben Bos.

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 has gone and continues to go 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 are being employed to realize this objective.

"Diaspora" is now being 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 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 rounded simplistic monospace font with digital-looking numbers and some special characters made for use with English or German language.