Ashlander Pixel is a pixelated version of "Goudy Medieval". Born out of a deep love for Bethesdas "The Elder Scrolls"-series and typography this font not only supports the latin, greek and cyrillic alphabet, but also contains a variety of special symbols related to The Elder Scrolls.
I suggest using the ttf-format for now as the spacing in the otf-format is for some reason totally off. I optimized this font using InDesign, therefore the kerning in some other programs might not work as intended.
I am happy to hear feedback on this font and any issues you might encounter.
May the Nine be with you.
This beautiful font is a recreation of an original font appearing in the SNES strategy game Romance of The Three Kingdoms IV: Wall of Fire, released as Sangokushi IV in Japan. It's my second Koei font recreation after Ishmeria (from the game Gemfire) and I think it's a very pretty and stylish font.
The character set of Sangoku4 includes a vast array of additional diacritic variants, number variations, bonus characters, unique glyphs, and also full sets of the Japanese hiragana and katakana alphabets from the original Japanese version of the game.
I recommend to use this one with font sizes that are multiple of 16pt and avoid any font smoothing or anti aliasing methods.
~ Sangoku4 by Caveras - a font recreation based on an original font from the SNES game Romance of The Three Kingdoms IV: Wall of Fire, developed and released by Koei in 1994. ~
This is a cloneThese elegant letters appear as the original main font used in the little-known tactical SNES RPG Gemfire, or Super Royal Blood in Japan.
Ishmeria is a faithful and exact recreation of said in-game font, expanded with hundreds of diacritic variants, number variations, additional bonus characters and various dingbat symbols. And that's not everything: all Japanese hiragana and katakana characters from the original version are also included, making this one of my most extensive recreations to date.
The base font size and recommended setting for Ishmeria is 16pt and multiples of that. Use metric kerning and no additional smoothing effects for an authentic pixel performance.
Gemfire on the SNES, known as Super Royal Blood in Japan, was developed and published by Koei in 1992.
~ Ishmeria - created by Caveras after the original font used in Gemfire for the SNES. ~
LITERA FACILIOR GOTI ― A 'Blackletter' script style with a twist
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Also known as Gothic script, Gothic Minuscule, or Textura, was a script used throughout Western Europe from approx. the 12th untill the 17th century.
This FontStruction was aimed at mimicing the aesthetic approach of a ― ‘Textura’ variant of the Gothic Minuscule script style, more accuratly refered to as ‘Littera Textualis’. This style is most characterized by its strong sturdy letterforms, with distinguishing sharp, straight and angular features as oposed to the other variations in this catagory.
In terms of authenticity to the original predecessing formal script family, my ‘Litera Facilior Goti’ didn't took a whole lot of care for authenticity. The idea was to take a more independent and experimental approach to shaping the letters and forms, so it wasn't necessarily inspired by any specific typeface in particular, it rather recycles certain characteristics of a ‘Textualis Quadrata’, but beyond those aspects of general guidelines it evolved on its own.
Some of the areas where the design tends to really stray away from the tradition is for example the serifs:
It's often that I have some trouble with the weight ratio distribution of serifs and such elements in simplified modular based geometric Blackletter fonts. In many of such designs they tend to have been left pretty static and equal in thickness throughout the full character set. Which I think is often either having some letters look clumsy or even weird, and generally speaking also often making them appear too thick.
So this was one of the things I had to try and adress, I experimented a little with the style and forms of the serifs. Eventually this resulted in multiple deviations in variety to mix and create a more dynamic distribution. similar to what was done in less formal scripts. Over time they became ever further simplified, letterforms that involved less reorientation of the pen, in pursuit of styles that were quicker to write.
But taken as a whole typeface I find that it is having this certain ‘random-ish’ characteristic that is simply working for the better of these particular style fonts.
I'm still working on improving its overall rhymes and reasons to a certain point that is acceptable, balanced and with enough consistency. But up to this stage I personally think that the concept worked out quite successfully so far. And that even despite the fact that its stripped down of most ornamental decorative calligraphic extravaganza, it still managed to capture a convincing portion of that ‘Medieval ’ looks and personal flavour.
But I think that in the end this became a pretty neat looking font and it would classify somewhere between a hybrid mix of simplified Blacklettering and a drunken man's ‘Textualis’.
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Cheers!
This is a cloneWIP.
Inspired by Witcher game(part 2-3) logo.
See more: https://radimpesko.com/fonts/lyno
https://fontstruct.com/fontstructions/show/711448/fs_phobos
https://www.fontstruct.com/fontstructions/show/1616378/japanese-3070
https://fontstruct.com/fontstructions/show/456325/valhalla_5
This is a clone of CryostasisAlegreya Sans SFN is a Small Caps companion family to Alegreya Sans, a humanist sans serif family with a chinese, jpn feeling that conveys a dynamic and varied rhythm. This gives a pleasant feeling to readers of long texts.
The family follows humanist proportions and principles, just like the serif version of the family, Alegreya. It achieves a ludic and harmonious paragraph through elements carefully designed in an atmosphere of diversity.
The italics bring a strong emphasis to the roman styles, and each have seven weights to bring you a wide typographic palette.
Alegreya Sans provides for advanced typography with OpenType Features such as small caps, ligatures, fractions, four set of figures, super and subscript characters, ordinals, localized accent forms for Chinese, Japanese, Russian, Spanish, and others.
The Alegreya type system is a super family, originally intended for literature, and includes sans and serif sister families.
Designed by Xankfomatik170.
Version 1.5
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A font made in the proto-calligraphic style I invented and used when I was a teenager. I haven't owned a nibbed pen since those days, so this font is as far as the style was ever allowed to evolve. It's somewhat lacking the handwritten character my writing had, but this regularity is the result I was trying to achieve. I had no particular use in mind for the style other than titling documents. For that reason I consider this to be a Headliner.
"I" is kerned to itself so that it can be used to make nicer-looking Roman numerals.
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See also:Basalt Pixel
Experimental brush/pen thing. Has a slightly spooky look. Because of their tapering curves, many glyphs can render with a "split" or "stencil" look about them. This is due to software-imposed limitations on vector rendering. Designs which share this property can be considered Pseudostencils.
This design is not informed or inspired by any existing typographical traditions. I set out to make the "claw" bricks (as I call them) into a font and this is the result.
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A design with long ascenders and descenders, even on letters that don't normally have them. Good for "old book" text in video games.
This is used in ESOSVM for most text which occurs while the player is in the dimension "Ladede", thus the name. Ladede has a canon, cosmology, and eventing which are seeded by in-jokes relating to roguelike games, especially Dungeon Crawl: Stone Soup. A font like this, in that context, is meant to be elegant but also mocking. This makes it seem subtly adversarial, as roguelike game elements are wont to do, and helps let the players know that they are in a bad, screwed-up place that they are unlikely to understand.
A medieval pixel font created for use in the graphic adventure game "Quest For Infamy" by Infamous Quests, (C) 2012-2014. Designed for fantasy / RPG-style video games. Uppercase letters inspired by: various German Blackletter, Old English, and Uncial typefaces; "Deutsch Gothic" by James Fordyce; "1454 Gutenberg Bibel" by John H. Schmidt; "Goudy Medieval" by Mentor Type; "Black Castle MF" by Rick W. Mueller; "Two For Juan" by Nick's Fonts; and Exidy's video arcade game "Venture" (1981). Numerals inspired by various Old English and Gothic typefaces.
BACK TO THE FRAKTUR - Modular geometric calligraphic blackletter
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Calligraphy inspired design, that even though it's name can be deceptive, suggesting one in thinking it is a Fraktur derivative. Which is actually quite not the case, and as far as being a calligraphic Blackletter inspired work, the similarities between the two stop.
This is a heavily simplified and geometric take on the calligraphic style, with much more modernized letterforms as well.
It remains a WIP, but I'd love to hear what u think so far.
Cheers
A 117-segment display made to have a more "mosaic" look. Try using this one at odd sizes, especially with antialiasing off! The resulting distortions occur in a consistent way which leads to many new uses for the font.
Original size: 38pt
GOSPEL ANGLOS
A insular half-uncial or insular majuscule script style typeface project that is inspired by ancient celtic bookhand & manuscripts.
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The project is aiming at solidifying a number of different insular script styles. The main goal is to create a single typeface that includes about everything required to replicate the decorative writing style seen in ancient celtic manuscripts.(except for the ornamental decoratives)
The font, though essentially a bi-linear or majuscule insular half-incial script, in reality is a combination of different styles and complementary lettersets. Each carefully designed for specific purpose.
For example, it includes a more decorative Anglo-Saxon-script capital letter, perfect for headline text or book bindings. These actually include a small number of short ascending / descending letters, but it remains mainly a majuscule. Then there is a complete insular style lowercase set, but which resembles a more traditional style lowercase letterform. And instead of being proportional sized, these reflect the cap-height, remaining faithful to the bi-linear nature of the script.
Besides all that, there is a set of glyph-alternates for most of the Anglo-Saxon capitals, as well as numerous random stylistic glyph alternates scattered througout some other various unicode blocks. Providing more than enough options to make variations.
To top it all off, I started making a set of more decorative lombardic initial letters, perfect for decorating paragraphs.
(This remains a WIP for now, as I am still experimenting aound with different styles and bits to narrow down the right one that suits this total package)
I like how some of these characters turned out, but many are jiust ideas and not yet reached their definitive forms. But this set proved a lot more difficult than I had anticipated. So,
Any suggestions helping me to complete the full set are very much welcome..
The major recources and guidelines for the creation of this project mainly evolved around the two medieval celtic manuscripts:
"Book of kells" and "Liɴdisfarne Gospels"
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It has grown quite a bit already so far, but remains a WIP.
So beware of very little overall polishing or kerning.
The overall design has quite some rough character, even more so with the insular lowercase set, that obviously was not aimed at smooth edges. Actually the oposite, sort of trying to replicate that rough look seen with many scribes from that era.
But I would love to hear your opinions (or suggestions for that matter) on the work so far. I can really use a little refreshing vibes for this at this point.
;)
Cheers.
ZMRDE!
Na plešce ti vidím vešku,
zaklapni svou sprostou držku,
nebo spadneš na koleje.
Zpozdím tebou české dráhy,
spousta lidí se pobleje,
až zvážím tvé smrti váhy.
Na plešce ti vidím vešku,
koukám na ní pěkně zvršku.
Koukám tak i na tebe,
na všechny kolem sebe.
For my weaving website I wanted a novel font. So here is FRIVOLITE, the shape is based on the beautifully shaped shuttle used for hand weaving. Indeed the O and 0 and @ show perfectly the shuttle shape. The other glyphs were made to fit (as far as reasonable) into this specific shape. I know that frivolité is knotting rather than weaving, but this shuttle shape can be found in weaving, too. An alternate N and Z is on 'extended Latin B'.
The last entry in the Pseudostencil series... this is built at 2x2!
It seems like the sort of font I'd see carved in relief on the sign of an old pub.
Pixel gothic somethingorother. Diabolical + Malicious = Diabolicious.
Original size: 5.25pt (use multiples of this value for pixel perfection)
Recommended: Use with kerning turned ON!
A semi-bold Diabolicious. It is the same width and size as the original!
Original size: 5.25pt (use multiples of this value for pixel perfection)
Recommended: Use with kerning turned ON!
This is a clone of Diabolicious