Linestrider's two-lined little brother.
Probably won't update this one again, because it uses a lot of brickswapping and so it is likely to get corrupted by additional editing/saving.This is a clone of Linestrider
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.
Alternates are now on UPPER CASE. I'll continue to update this as I get more ideas!
Original size: 6.75pt (use multiples of this value for pixel perfection)
I 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.
Is it Serif or Sans? Western or Gothic? Double font or not? One thing is certain: This is not a time-travelling alien. Probably.
Revisiting Celosia, this time with faux-beziers instead of pixels.
Alternate @ design on ©.
- Some Latin
- Russian Cyrillic
- Google Fonts
- Currency Symbols
- Arabic (WIP)
Version 1.5: All permutations of E and F were refined and improved.
A modernized, rounded, and truncated version of Marengi. This is made to be a good text editor/chat font. It has very few kerning pairs, so it should render fine in any software.
Ascenders are only allowed to be as tall as the uppercase/numerals, while descenders are allowed to go 2px below the line. This creates a natural line spacing that is readable and not too dense. (Diacritics break this rule, of course... darn them...)
Gone are the curved descenders/termini on letters like gjty. The simpler geometry makes this design more suited to speedreading than its predecessor. In fact, altering those four letters alone improves speedreading on this font by up to 14%!
09JUN2019: I have been using this as my main IRC/chat font for some time now. Of all my chatfont designs, this has proven the easiest to read and use.
Original size: 6pt (use multiples of this size for pixel perfection)
Version 1.3: Added Polish and started on Cyrillic.
Experimental polygonal superthick decolike.
Formerly known as "Specula".
By request, a font with the two-toned look of a Pokéball. No filters! The Pokédollar sign can be found on "¢" and a Pokéball is on "•".
"Eviolite" is an item that powers up the defenses of Pokémon that are not fully evolved. Looks like a lavender-colored gem.
A vaguely Courierlike OSD (Onscreen Display) font which tries its best to be casual. The name is inspired by the old computer joke: "Who is General Failure and why is he reading my hard disk?"
No filters or faux-beziers, just stock bricks and a bit of stacking/nudging!
More about the design:
It started as a doodle and an attempt to make a smooth, low-resolution, low-poly font, and then it became a Courierlike. I have other fonts that tried to do polygonal round shapes before this (such as Cartoon Riot) but this design is my first real success in this area.
Initially, I made the angled glyphs before the round ones. I didn't want to change the angled ones, so glyphs like C, O, and Q became a bit wider than they are tall. I'm quite fond of this, because in most designs these glyphs tend to have a tall and narrow character. I think the mildly squat look of this font makes it cuter and gives it more personality.
A lot of glyphs were altered in specific ways to look more like metal type, especially anything with diacritics which touch the letters themselves. Other glyphs were altered specifically to be interpretable at small size. I also use angled contours and actual round bricks alongside each other within the same glyphs, another technique which is geared toward style and interpretability at small size.
This font came with many new challenges and an array of new techniques had to be designed. Loops were an insurmountable challenge because of the low resolution and heavy line weight, so I drew rounded areas to suggest them. You can see it on letters like Greek γ, ζ, and ξ.
Font from the ingame marquee display of Barcade Brawl, a 2015 game by yours truly. This was made to look similar to the system fonts from old arcade boards, PC microsystems, etc. You've probably seen the fonts I'm talking about; they're everywhere and many people refer to them singularly as "the arcade font" or "the NES font".
This is 7x7 with no wasted matrix, but it looks better without monospacing since not every glyph is the same width. It also makes a decent terminal & chat font, at least for those who don't care about the case of the messages they read and write.
Feel free to use this in your games, etc.!
Original size: 5.25pt (use multiples of this size for pixel perfection)
I use multiple text editors, and made this font to be an alternate font for Windows Notepad.
This was designed to be similar to Marengi Mk2, the font used in my FS Tutorials. Apart from using a smaller grid size, Eglantine achieves a closer line spacing through the use of short ascenders/descenders and the removal of the dots from i and j. It is also more condensed and optimized for speedreading, resulting in a font that is pleasant to read despite being quite small.
This design does have some wasted matrix, but this is necessary to achieve the desired effect. The global matrix is still only 7px tall, so this can still be used on most small canvasses.
Original Size: 4.5pt
V0.2.6: Finished Cyrillic.
A small scale faux-bezier design with a cutout-esque look. It offers different advantages at different sizes. Most glyphs are legible down to 4pt.
As this design evolves, it gives me an increasing "board games" feeling. This design seems very well-suited for board game parts, especially cards and smaller plastic pieces.
This has a few notable design features:
- Asymmetry helps keep letters like bdpq from being confused for one another
- Serifs and flags accomplish the same thing for groups of similar letters such as ce and ftſ
- Semiserif style helps reduce the need for kerning to almost zero
- Simplified polygons and counter shapes help pixel optimization
See also:Cartoon Riot
I finally made a folded-/ribbon-style design. This one contains a number of experimental techniques. Most notably, the swept parts of glyphs are allowed to extend beyond the letterwidths and sometimes even the baselines. This enhances the sense of movement, creates some interesting linkages, and reduces the need for kerning.
All of these shapes can be constructed with paper or ribbon, although lots of clever folding tricks, doubling, and pinning down/securing with glue would be required.
Alternate tilde on "±".
Chamadarya is an Integral Artifice (synthetic universe) I created for the ESOSVM simulation in 2013. It's a place dominated by vast stretches of open sky punctuated by extremely tall mesas and plateaus. Most of the buildings and temples there are made from chrysoberyl, which is extensively engraved, often with a lettering style that looks much like this. Of course, that language is non-Latin so it looks nothing like this design.
Asymmetrical alien techno stencil.
This uses some experimental techniques, of course, but I'm not sure how to concisely explain those. Let's just say that each type of line bend and line connection has a rule associated with it. These get naturally modified by the structural asymmetry the font has so that simple rules appear in many forms and variations.
Verbossus in sans-serif!This is a clone of Verbossus
A "Connect bricks" font.
It's called linestrider because the outline strides across the inline on both sides. It also reminds me of the courses that are drawn for line-following robots.
The person I made this for requested lowercase. I'll add it as I can.
A small-grid font with character.
- No angles.
- Asymmetry should be present wherever feasible.
A stemless and spurless Eviolite. It has a "utilitarian" look which I enjoy.This is a clone of Eviolite
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.
Iteration 4: Basic Latin kerning finished.
DOODLE DOODLE DOODLE!
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.
An experimental design using 1/8 weight lines alongside 1/16 ones. The 1/8 lines are the smallest that can be accurately nudged. Centering them is still a problem at times, and I need a few impossible composites to perfect the glyphs ABEFHKQRXYijkx34789, but overall I'm quite fond of how this doodle turned out.
Version 1.2: Added Danish, Dutch, Finnish, French, German, Hungarian, Icelandic, Italian, Norwegian, Polish, Portuguese, Spanish, and Swedish.
Experimental spurs and counters.