The same simple thing, now with more characters.
I thought it was a good idea to make this.
(I also thought it was a good idea to correct the spacing in the lowercase "j")
This is a clone of Nokia 6000 series MediumA multi-line design which is slightly reminescent of mazes/fingerprints. It's not designed to create functional mazes, but it is somewhat capable!
"Absinthelyric Print" is an anagram for "Labyrinthine Script".
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Original size: 11.25pt. Use multiples of this value for pixel perfection. (If you use antialiasing, it will look perfect at most any size.)
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Design rules:
1. Square bricks and 90-degree angles only.
2. Alphabetic glyphs must have open terminals; numerals and symbols must have closed terminals. Letters which do not terminate (D,O, etc.) must be broken so that they terminate.
3. Glyphs must fill the 15x15 grid.
4. Ligatures and combinatorial glyphs must fit into one letter's space.
5. Draw from the outside in.
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.
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Alternates are now on UPPER CASE. I'll continue to update this as I get more ideas!
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Original size: 6.75pt (use multiples of this value for pixel perfection)
This font is old, I made a signifiantly better pixelated Arabic font here, please get that instead: https://fontstruct.com/fontstructions/show/1607342/bitsy-font-with-arabic
A tear-off ticket design. I went for the slightly gaudy look which is associated with carnivals and arcades.
While making this I also got the idea for a font which looks like a 35mm reel with little scenes on each segment...
Original size: 14.25pt (use multiples of this value for pixel perfection)
Work in progress …
Planning only to track down some bugs in the FontStructor, I was suddenly struck by similarities between the random shapes I was placing on the canvas and images I had stumbled upon recently on the web – I think it was in this article in the Guardian.
The images were of Peter Womersley’s modernist design for “High Sunderland”, fashion designer Bernat Klein’s erstwhile home, near Selkirk in Scotland. I wasn’t at first drawn to the modernism, but to the promised description of the experience of living in a house which was visually so open to the outside world – although ultimately the article wasn’t especially enlightening on that point. Later I found more extensive sources of images of the building on the web.
Working on this was the first time in quite a few years that I have been possessed by my own, earnest FontStructing rush. I was very pleased to find that the FontStructor tool still works as well and simply as it ever did – allowing for a uniquely swift and unimpeded creative progress through a set of modular glyphs.
The basic grid for each letter, based on the characteristic modules of the building, is topped by a slightly heavier bar and so slightly asymmetrical in the vertical, like the structure of High Sunderland itself, but it is essentially square and consists of six parallel horizontal bars.
In the FontStruction, the emphasis is on these crossbars – with every effort made to avoid partial horizontals and additional vertical lines, especially for the basic latin alphabet. The font is essentially unicase, with some variants in the lower case.
At one point I noticed that there are some window panels in High Sutherland which do have a single, thinner vertical divider (for sliding open presumably) so I used this for the middle legs of the M and W. After completing the initial FontStruction I also noticed in photographs of the building that there is at least one window with multiple vertical subdividers, so maybe that can form the basis for a new grid and a new FontStruction (High Sutherland B).
Things started to get fun for me when I got into the punctuation and accented letters. I saw no alternative to adding additional verticals for the hash, the percentage sign and some other glyphs.
I really like the percentage sign, although I’m not sure how legible it is – but I guess ultimately that it is an issue with the whole font.
When it came to glyphs with unavoidable diagonals – such as the slash glyphs – I went for a stepped approach, which I think is basically a good one, maintaining the emphasis on horizontal lines, and suggestive of musical notation – but the steps are a bit sloppy. I probably need to revisit them.
I’m not sure about applications for this FontStruction. Maybe it would be useful to someone intending to erect their own mid-modernist dwelling in the hills, or to someone planning to put up some new shelves!
Pixellated Proxima Punch. It's art deco for your ancient compy box! New smaller grid, same great taste.
Original size: 6pt. Use multiples of this value for pixel perfection. However, this one has been noted to look great at almost every smaller size. Try 7pt, 8pt, 9pt, etc. for slight variations on the look!
A star font which combines a pixelated look with halftone shading.
It needs some form of antialiasing to be legible at small sizes. (See sample below or try the Pixel views). At larger sizes, you can use it with or without antialiasing!
Original size: 12pt (use multiples of this value for pixel perfection)
Finally, an All Stars that is truly "all" "stars" HAHAHA GEDDIT
This is a clone of All Stars BlackA pixel font made to look like fire! Now you can answer (and ask!) your burning questions...
Drawing and editing these takes more time and effort than most other forms of pixel art. Don't expect them to look perfect without some time and effort from YOU, as well. An effect like this requires hand adjustment of every part at every stage.
The coloring, infill color, and effects you use with this font make a drastic difference as to what looks are evoked by its shapes! Scroll down for lots of examples. :^)
Alternates on lowercase!
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TODO: Alternates for .,?!@_*#$%&()+/:;<=>[\]^`[|]~†123456890
Original size: 18pt (use multiples of this value for pixel perfection)
My attempt at making a Unown font where all the letters are consistent in size. This is original pixel art made using a high-res reference. It's made to be a nice-looking design, not to be 100% accurate to the games. Upper case is fully kerned.
"We Dunno" is an anagram for "Unowned".
Original size: 6.75pt (use multiples of this value for pixel perfection)
Recommended: Use with kerning turned ON!