Xtructleim Display alternative inspired by the Wicca's Alphabet (Now with Rounded option)
Changelog: Apr/4 - Redesigned numerals, alphabets resized
This is a clone of Xtructleim WiccaAlternate version of: https://fontstruct.com/fontstructions/show/2430577/stub-nib-final
with a single-storey lowercase a.
This is a clone of Stub Nib (Final)Oh Thy Sphinx Of Black Quartz, Doth Judge Mine Vow (Now comes with Rounded Option)
This is a clone of Xtructleim DisplayThe script of the gods. Produced for the project Sephira Tale: Reclaiming the Light. Inspired by Anglo-Saxon Runes and the Ethiopian Ge'ez script.
Here are some notes on the orthography:
'C' is mapped to the /x/ or /ç/ sound, the voiceless velar fricative.
'Q' is mapped to /tʃ/, the voiceless postalveolar affricate.
'X' is mapped to /ʃ/, the voiceless postalveolar fricative.
The voiceless dental fricative /θ/, as in 'thorn' is mapped to the letter that appears when you enter 'þ'.
The voiced dental fricative /ð/, as in 'the' is mapped to the letter that appears when you type 'ð'.
Optionally the 'D' or 'Z' can also be mapped to this sound in some contexts.
The cluster 'tion' that appears at the end of words can be rewritten as 'xun'.
When writing for the 'qu' cluster, use 'kw', 'ku' or 'kv' instead.
This is the alphabet for a worldbuilding project I'm working on. It needs the reference decoder (which has not been published anywhere) to be used properly/read. It is also unfinished, and I would like to improve some of the punctuation marks as I feel they don't match the rest of the letters (especially the quotation marks). Please give me feedback on this!
The full set of Tengwar, created by J.R.R. Tolkien, also including a select set of punctuation marks and numerals 0 to 9. Note that many symbols do not corespond with their latin equivalent on the keyboard. Also note that, in order to write vowles separately, one has to use vowle carriers.
Key:
a/A = Tehtar A top/bottom
c/C = Calma/Anga
d/D Thule/Anto
e/E = Tehtar E top/bottom
f/F = Formen/Ampa
h/H = Hyarnen/Hwesta sindarinwa
i/I = Tehtar I top/bottom
j/J = Yanta/Ure
k/K = Quesse/Ungwe
l/L = Lambe/Alda
m/M = Malta/Ngwalme
n/N = Numen/Ngoldo
o/O = Tehtar O top/bottom
p/P = Parma/Umbar
q/Q = Silme nuquerna/Aze nuquerna
r/R = Romen/Arda
s/S = Silme/Aze
t/T = Tinco/Ando
u/U = Tehtar U top/bottom
v/V = Osse/Halla
w/W = Vala/Vilya
x/X = Hwesta/Unque
y/Y = Anna/Ore
z/Z = Harma/Anca
-/_ = Telco/Ara
From the Final Fantasy Advance and DS games. Specifically the final version, from FFIV DS. I tried to make it compatible with all languages that use Latin, Cyrillic, and Greek scripts. Plus Japanese Hiragana and Katakana.
If you see problems, let me know.
CHANGES FROM IN-GAME ORIGINAL:
•Added additional letters and diacritics.
•Changed the circumflexed letters to use actual circumflexs instead of inverted breves, so I could add breved letters.
•Used half-pixels to center diacritics over letters.
•Made some diacriticized letters more consistent.
Script font for a version of the Infernal language from the tabletop RPG Dungeons & Dragons, for personal use. Abjad script (only consonants are written, and vowels must be filled in by the reader). Characters are, in order: B, D, ŋ, H, K, L, M, N, P, R, S, T, θ (keyed to U), V, Y, Z, 1, 5, 10, fullstop, exclamation mark, underscore line, underscore terminus, underscore beginning, semicolon, and space.
Version 0.5
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A font made for a LuneKnight, a Terraria mod by yours truly. It gets its name because parts of it remind me of halberd, partisan, and/or axe heads. I designed this to have the vaguely authoritation look of a Didone as well as a borderline-gaudy look that prevents this from being taken too seriously. These changes lent some much-needed character to the prototypical Didone from which this design evolved. The uppercase letters are more heavily ornamented, as if to suggest that they are letters from an illuminated manuscript.
The main texture is a diamond pattern inspired by vent holes in medieval armor. These were often made with a square punch, and help the font look more handmade. Actually, most of the quirks this font possesses are present to help present a handmade look.
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Notes
The wider letters are incised, which seems to lessen their perceived wideness by breaking up the shapes. For me this effect lent a more natural flow to the reading.
The ornamentation rules are complicated and factor in lettershapes, English letter frequency, and the existing design parameters. One thing I can concisely explain is that glyphs which normally look fairly plain are ornamented to such an extent that they make others look plain instead (CGJLT1 among others).
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 "±".