WIP.
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 CryostasisFor the conlang Ngazikha, or Goblin Tongue. (A rework of my old Knatxiksa conlang.) "Sukasa Ikh" means "thick stone".
Ligatures: A = ka, E = ki, U = ku, S = sa, R = si, Q = su, T = ta, V = ti, W = tu, N = na, M = ni, L = nu, X = xa, Y = xi, Z = xu.
M = oldstyle N
This is a clone of Sukasa Iks SansEverything is completed !
yay
This is a clone of STF_LENA_(Inline)Inspired by the Undertale Character that never was, I present to you Semi UT.
Grandpa Semi was originally planned to be a font skeleton and a relative of Sans and Papyrus. In the newest update to Undertale, if you perform a specific action in a fight with Temmie, you'll get to hear his originally planned theme and a little joke that may allude to his actual personality. This theme eventually became Metal Crusher, one of Mettaton's themes.
Please, feel free to use and distribute this font however you like!
Thanks!
--DisposableScissors
Pixel art edition of the script featured in my Sukasa Ikh font.
This is a clone of Sukasa Ikh SansRules of Aximen font design project:
1. All letter characters and numerals must incorporate a section of the staff (any part of it, the staff is fully represented by the I).
2. Norse Futhark usually used a vertical line at the top and bottom of each rune to show it's flow across a stone or woodworking, that would follow the contour of the media. This means that no character can share the base line, nor can it share a part of the top line (as it's complete design, if sharing a guideline, would effectively disappear, like an L with an underline at the baseline would look more like an I). These are immaginary lines in uppercase, but the same glyphs will be used in lowercase which will offer a lowline directly below and sharing the base line at the top edge, as well as a top line at maximum character height where the bottom edge will share the top line (top of character boundry).
3. Accented characters will show accents below the low line or above the top line and the appropriate top or bottom edge of these lines will act like character boundry. In the uppercase register, these accents must mirror the placement of the lowercase, even though the low/top lines are immaginary.
4. Extra points for incorporating more of the staff into the actual character design. The staff line itself (again, represented in the I) represents the line used between characters in some Futharc runes.
5. Alphanumeric characters should represent modern letters and numbers, but not look modern. But, they do not have to look like runes, either. Yet, they should still be readable, though not necessarily well adapted to speed reading scanning of normal letter shapes. No character need to comply with Summer Institute for Linguistics standards, guidelines or rules, and the characters that bend such rules the farthest are considered the best.
6. Each character should be taken indivually as if the only design problem. Individuality and uniqueness of each character is prized well above unity as a typeface. Diversity, even of style througho0ut the same character set, is encouraged and applauded.