Everything is completed !
yay
This is a clone of STF_LENA_(Inline)Caps only font. You can use the glyphs placed at the lowercase to add a different second letter in pairs like EE, FF, LL, NN, OO, SS, TT, ZZ, etc. and to avoid graphic repetitions in a single word or phrase. Extra "c" at the "¢" glyph. (NB: To create this one I have greatly exaggerated the method used by my admired Beate -sorry, Maestra- in her font db Whisper, which successfully simulated hand-drawn letters.)
PRESS THE “PIXEL” BUTTON ABOVE FOR THE BEST RESULTS.
WELL, IF I WASN’T CRAZY BEFORE, I DEFINITELY AM NOW.
I WOULDN’T RECOMMEND DOWNLOADING THIS FONT. IT WOULD PROBABLY CRASH YOUR COMPUTER OR SOMETHING.
CLASSES
• “A”:AMBASSADOR CLASS
• “B”: OBERTH CLASS
• “C”: CONSTELLATION CLASS
• “D”: DEFIANT CLASS — U.S.S. DEFIANT (STAR TREK: DEEP SPACE NINE)
• “E”: EXCELSIOR CLASS
• “F”: FREEDOM CLASS
• “G”: GALAXY CLASS — U.S.S. ENTERPRISE D (STAR TREK: THE NEXT GENERATION)
• “H”: GALOR CLASS CARDASSIAN WARSHIP
• “I”: INTREPID CLASS — U.S.S. VOYAGER (STAR TREK: VOYAGER)
• “J”: TYPE VI SHUTTLECRAFT
• “K”: TYPE VII SHUTTLECRAFT
• “L”: LUNA CLASS
• “M”: MIRANDA CLASS
• “N”: NEBULA CLASS
• “O”: OLYMPIC CLASS
• “P”: PROMETHEUS CLASS
• “Q”: K'VORT CLASS KLINGON BIRD OF PREY
• “R”: SOVEREIGN CLASS
• “S”: SOYUZ CLASS
• “T”: TYPE XV SHUTTLECRAFT
• “U”: DANUBE CLASS
• “V”: VOYAGER’S AEROSHUTTLE
• “W”: D'DERIDEX CLASS ROMULAN WARBIRD
• “X”: NOVA CLASS
• “Y”: BORG CUBE
• “Z”: NEW ORLEANS CLASS
• SPACE: ACTUAL SPACE
Temple of Apshai was the first game published by Epyx, back in 1979 when they were called Automated Simulations. A trilogy of Apshai games came out on Commodore 64 in 1985 and this font is taken from that. Now you can mix 8-bit with RPG.
Here is my fourth attempt to make a narrow font that accentuates diagonals. It seems to be a good programming font at size 10. It makes it surprisingly easy to read upper case consonant names.
Design is as follows:
Monospaced of course, because code pretty much requires this. Code fonts are built for both reading and editing, and when some letters are very narrow like the i and l in most fonts, that makes them very hard to select with a mouse and therefore very hard to edit and makes these fonts very hard to use for programming. In addition block cut and paste is important for programming and monospaced is required to do this easily.
Small sizes need to be easily readable. Sometimes you need to be able to see a lot of code on one screen.
Two Dimensional - designed for two dimensional grid-like work such as spread sheets and programming. Lines to draw reader's attention vertically are preferred over lines to draw reader's attention horizontally (as in most fonts). That makes this font more difficult for reading text and less difficult for reading code.
Glyphs are wide in the center of each letter so that diagonals and crossbars are easy to see, and narrow toward the top and bottom so that the characters pull away from each other and are easy to tell apart.
Bodies of the lower case letters are made relatively tall so they are easy to read in code, yet maintaining a clear difference between the height of the lower case and upper case characters - very important.
From top to bottom: 2 blocks upper diacritics, 1/6 block space, 2 blocks stems and upper case, 5.5 blocks lower case body, 1/3 block space, 2 blocks lower diacritics.
Clear distinctions exist among the members of each of the following groups of glyphs: ({[ ])} Il1 aes Ss56$ Zz217? `' ., uUvV coCO0D pP ;: ~- to help tell exacty what each glyph is. This is critical in programming.
Numbers are really large. It doesn't hurt at all for numbers to stand out in programming. This is ok because numbers never have diacritics. The 7 has a bit of a scoop so it does not look like a 2 when underlined.
Vertical alignment - The pairs {} () and [] line up precisely vertically.
The dots are large and distinct so they show up easily in code.
Large numeric 'operators' +-/\%^~=* are easy to read in code.
At least one block touches the right edge in each glyph so that Visual Studio can figure out what's going on. This also means that many glyphs do not touch the left edge and some narrow puctuation glyphs have a tiny extra block off on the right edge.
Floating a little bit above the zero line helps in dealing with underlines.
Avoids horizontal strokes to reduce problems with pixelation at various sizes in various programming tools.
Sans Serif (mostly) so that you can cram glyphs together more tightly.
Also:
Diacritics have lots of space since the area above and below the capitals is more than 2 blocks, so they can be added later on.
Looks scripty - There is a bit of a scripty thing going on because of the wide bases for the lower case i and l, so this is enhanced a bit in the I, J, S, U, Z, f, t, u, z and s.
Narrow enough to be mistaken for an informal text font although since it is designed for two dimensional work, simple lines of text are not that easy to read.
A little too thin - A little bit too thin to be easy to read on a pixelated screen below size 10, although it does print very nicely, so I am labeling this Friendly Geek Light, and I am building a Regular and a Bold font also.
Recent Changes:
Made the 'h' lean to the right to distinguish from the 'b'. Straightened out the '+'. Made the 'F' drop below the rest of the upper case to make it look less like an 'f'. Heightened the 'v' to make it smoother.
See more:
https://fontstruct.com/fontstructions/show/414950/fs_xo
This is a clone of SingularityI originally created this font for the point 'n click adventure Lamplight City but it was dropped late in the dev cycle to be replaced by regular smooth TrueType fonts instead of pixelated ones.
It was designed to be the typeface used in the notebook of the protagonist,
I have changed the name. It looks sort of piratey and sort of painted. It looks sort of like letters painted upon a piece of cloth - a pirate flag. The letters look a little choppy and drawn as if drawn on fabric. Uses the new half-arcs.