anything goes in this book-style pixel font. it is for secret project.
maximum of 11 pixels tall (plus 3 px descender below)
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[1.7d] Still working on CJK and Hangul. Still not even halfway there!!!
[beta 1.7c] More CJK, Aboriginal Canadian Syllabics, Bengali
[beta 1.7b] More CJK but still not nearly enough
[beta 1.7a] I found a stray pixel which stretched the font two pixels too high. It's gone now.
[beta 1.7] ??? stuff? korean jamo, like 0.3% more of the CJK, Greek Extended, and one of the East Asian scripts (the name I forgot :<)
[beta 1.6d] assorted CJK and symbols
[beta 1.6c] devanagari (hindi script), thai
[beta 1.6b] thai and other junks. some characters improved
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!
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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.
I attempted a blackletter style without any knowledge or references. The result reminds me of a vampire's writing!
The name "Dethzmezenger / Death's Messenger" comes from one of many old joke bands which I created.
Original size: 17.25pt (use multiples of this value for pixel perfection)
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 "±".
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.
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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.
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.
Version 1.0
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A slightly quirky font made to be good for chat and marquee display. The global matrix is 8 pixels tall. This works well for IRC clients, MUD clients, and so on. Supports Dutch, English, and Greek!
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Original size: 6pt
inspired by neue machina and lack
added fun alternates in the private use area
This is a clone of Thinlyn (#nfnw)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.
An avantgarde serif with a mild horror theme. It takes advantage of the properties of antialiasing/text smoothing algorithms to render a convincingly handmade aesthetic.
Making attractive, consistent, nonpixel serif designs at this grid size is quite a challenge. Making them look handmade is even moreso. I've tried that many times, but this design is the first such one I felt was truly usable. It doesn't quite look typewriter-esque, but blends well with other designs that are.
For this I used many different serif shapes, with each one depending on how the line it was attached to wanted to bend or terminate. This is in contrast to most other serif designs I've seen, in which the serifs themselves are more consistent in shape. I decided against faux-bezier curves for this, because they all looked way too polygonal. I think this is one of few cases where a rectangular O and S enhance the overall design rather than weakening it.
A pixelly font made with the prime focus of simplicity and feeling retro! If anyone wants to use it, feel free to ask, and I hope it is of use to people that don't include just me because fonts are awesome and I happened to design this five years ago. Enjoy!
A dashed line design made with the new half-arc bricks. The emphasized spurs/stems and off-kilter geometry give it a quirky, almost handwritten quality. Its striped appearance makes me think of candy as well as the Cheshire Cat, thus the name. :D
I doubt the upper case would look as cute as the lower. So I've cloned all LC to UC to make this easier to use...
simple sans is... well... a simple 7x4(ish) sans-serif pixel font. but not really. there are a lot of funky details hding in the glyphs. try to catch them all!
this is currently the most-glyphed font i ever have which is not a clone of some other font.
this font is gonna have 1000+ glyphs very very soon!
this experiment is now abandoned. i will work on a new unicode font soon.
It's called Choices because this basic idea lead to numerous minor iterations that completely changed the character of the...er...characters. All the unused possibilites are now sitting dormant in another font. Perhaps they will become a full font (or three)...someday.
This is a cloneVersion 1.5
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3x3 slab serif. This is based on Wallerton, Anachronistic Gunslinger, an IRC-based "TV show" which I used to write and produce. All the characters in the show were my AIs pretending they were cowboys.
Well, I managed to successfully produce a lowercase for this one!
Recommended: Use with kerning.
A variant of Clockwork Macguffin in which most curves are changed to 90° angles. Whereas with most fonts a change like this would result in a more authoritarian or "professional" look, this one became quirkier. I like it!
This is a clone of Clockwork Macguffinan attempt was made to create a didone typeface
weird 'a, c, e, f, g, k, r, s, t, v, w, x, y' and more because why not
inspired by droulers and the works of alex slobzheninov
wip, just wanted to publish this for now
Unleash the power of the... SLAPPERDAPPER! For the whole family!
a typeface inspired by the music of this artist, billboard lettering and brutalism
Small-grid doodle which creates new combinatorial forms.
I considered this design rather rough and unappealing until I gave it negative spacing. This caused the forms to merge together in unpredictable and interesting ways. The lesson here is that sometimes the metrics, not the aesthetics, are what "make" or "save" a design.