Handwritten medieval pixel font in 5x5. This one has a subtle rightward momentum which is imparted by the slants of letters and the positions of curves/angle changes. The idea is a font that inspires one to continue forward and onward, or at least further to the right.
These Guild fonts are meant to convey different professions while using extremely small canvases. They're small enough to be used on practically any computer system or game console.
Original size: 4.5pt (use multiples of this value for pixel perfection)
Experimental sliced sans serif. My goal here was to make a design which would result in an extremely compact and durable physical stencil. Almost all of the sharp points and acute angles are within the negative space, so it should be easy and very safe to make, handle and work with this stencil.
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Version History
1.3 - added More Latin and Google Fonts Basic bands.
1.2 - added uppercase, changed name to "Aegris Stencil".
1.1 - edited for more readability at small size. Glyphs with enclosed loops were altered so that the "movement" of the segments always runs clockwise.
1.0 - released.
A 5x5 design inspired by architecture, geometric design principles, and terracing. Many letters look precarious - only a good architect could build structures that balanced so well.
Despite having achieved a satisfactory and distinct look with this, I'm not sure if Architecture is the best motif for it... it may evolve more...
Pixel demake of Arizone Unicase. Same glyphs as the original.
A space-esque design made for a friend! The angular counters give this a simplified geometry which makes it easy to read despite its looks. Works well for small- or large-scale applications - chat, terminals, logos, and more. Supports Dutch, English, and Greek!
The original was cloned off and preserved elsewhere. The version you see here has centered glyphs.
A 5x5 design made to be very open and airy.
It has a much higher degree of internal consistency than most of my other designs. This was achieved by opening up the forms (A,E,F,J,K,P,Q,R,W,X,Y), minimizing the use of diagonals (A,K,N,X,Y,Z), using a soft 1px break to indicate curves (B,C,D,G,O,P,Q,R,S,U), and squaring off a few areas that are normally angled or rounded (M,N,S,W,Z).
"Ash Isotope" is an anagram for "Apotheosis". Bit of an in-joke between friends. :^)
A font I designed for the animation series, "The Boris Barkov Show". This is made to look blocky and industrial, but still fairly modern. It's mostly built on a 5x5 grid, and is perfectly useable as a pixel font, but is meant for high-res applications.
The show's titlecards only use this font in uppercase. But, I designed a lowercase for the sake of accessibility.
The show is about a stereotypically Russian, mustachioed, ushanka-wearing pug named Boris Barkov. Apart from speaking both English and Russian, he's able to play the video game "Escape From Tarkov", wield a sword and rifle, and carry and throw objects despite his lack of opposable thumbs. His nemesis is PugB (the Americanized "Rambo" pug) and he's rumored to have shady dealings with Sam Yippington, the Latvian Dachsund arms dealer...
Continuing on the theme of choosing a regular shape and making an alphabet out of it.
Looks best at smaller sizes (<24pt) and with antialiasing/ClearType turned on.
Can this be done better with filters? Probably, but I still have to learn those... :D
A decolike boldtype. Based on a design from my game "Seven Candles", particularly the text used on documents and signs at the Lower Netazecan Embassy. The "hallmark" of this design is a sudden increase in line width midline, best seen on glyphs like EFLTZ3<>^.
"Embassy L" is a play on "Imbecile".
This design was previously as "Frenchfry" because Razma's (one of my AI) image recognition classified several letterforms as french fries.
For this, I just wanted to make the squarest design I could. But, it wasn't enough to just force everything into a square shape. I wanted to find forms that were distinct and aesthetically pleasing, as well. So I started to "pinch" certain corners and vertices. I rather like this result! Looks weird, but not glitched.
A terminal font used in several of my own games. Think of it as my own replacement font for a DOS prompt. It is meant for all-uppercase terminal use and does not have extended language support.
This design has been further refined since its initial Fontstruction. I have improved its aesthetics as well as its visual interpretability using Marinanian methods. This is still a design with more functionality than aesthetic appeal, though.
Original size: 3.75pt (use multiples of this value for pixel perfection)
See also:Amalgarmada, Amalgarmada 2
Joketext font from ESOSLite. This is very similar to the original ESOS Lite Terminal, but turned 90 degrees counterclockwise.
This text prints in one or two ways: either as it displays here on-site or in a RTL columnar format where the body of text is rotated back 90 degrees clockwise. The latter is usually used for jokes about weeaboos; I play 100% Orange Juice and watch Katekyō Hitman Reborn! so I pretty much am one.
A fairly standard 5x5 design with a little added flair. The sort of text you might expect to see in fantasy maps and atlases.
Uppercase only!
Original size: 3.75pt (use multiples of this value for pixel perfection)
Another Gemscript and another IVO series entry. :D
A minimalist Gemscript (or a corrupted one, depending on who you ask).
It has no relation to Pigpen Cipher, although a few glyphs do look like they're from that cipher. Feel free to use this fact to throw amateur cryptographers off for amusement.
Original size: 3.75pt (use multiples of this value for pixel perfection)
An omnilingual cryptographic system which disguises itself as a scrambled substitution cipher. Glyphs are prearranged in groups of four and it is the differences between items within these groups which comprise the actual information. These "words" represent and describe any sound made by any method with any frequency content, and their "strings" (monolinear arrangements) describe the shape, structure and context.
The details of how to properly encode/decode these symbols will remain secret. This is designed in part to inspire others to invent their own systems of this kind. Think about how to do what I claim here to have done, carry it out, and you will have devised yourself something which is human-readable on its own yet as secure as a One-Time Pad.
Gemseeker texts feature in several video games of mine, although the system is only used to display jokes and Easter Egg messages. People know I'm on this site by now, so I can't give them all away on here, can I? ;)
5x5 sunburst design. I think it can be made more legible, but I'm not sure if it can be done without sacrificing style...
See also: Quadra Magic, Trafalmagus
A single line is bent on itself to trace letterforms in 5x5.
This is part of my "IVO" series (Inline Versus Outline) wherein inline and outline elements are split, merged, and altered to make them ambiguous and to allow new styles to emerge. They may look like maze fonts, but they have a different design methodology altogether.
For my 300th Fontstruction, a more open and airy deco style than those I usually make. It has a strong sense of the "negative space has been sliced out" look about it which I tend toward in an art deco design.
Even though this is legible at a small size, I consider it a display font since many of its details are subtle. In retrospect I think this looks slightly Broadway-ish... but, this was just my attempt at a 5x5 deco.
"Gongclonker" is my nickname because I am a gong player.
A semibold Gongclonker made to the same specs as the original - 5x5 with no wasted matrix.
This is a clone of GongclonkerA gnarled, pointy design which fits into many historical periods and aesthetics. It makes me think of Wild West woodtype and gargoyles.