I made in pursuit of cuteness.
This is for English and European languages only
There are no Japanese characters.
Postscript: The upper part of A was adjusted to "Δ" or "Λ".
This is a clone of 15*15dot-EuropeanAfter pasting the gum tape in a certain place in Tokyo before and after
There was a guard who wrote the letters on the signboard in a way that was shaped with a cutter.
This font is an homage to the letter.
This font is a clone of "15 * 15dot-ariake".
こちらのフォントは"15*15dot-ariake"のクローン版です。
Additions and extensions of Latin characters, and Greek and Cyrillic characters are also included.
ラテン文字の追加・拡張、またギリシア文字やキリル文字を収録しています。
In addition, in the area to display Hangul
I wrote Braille in the sequence of Louis Braille's Braille Table.
おまけとして、ハングルを表示する領域に
点字をルイ・ブライユの点字表の並びで書きました。
Constructed script for a conlang (5x5 version). Katakana keyboard setting required to use.
人工文字は人工言語を為(5x5バージョン)。カタカナキーボード設定は所要に使う。
Pretty much abandoned currently. Do with whatever you will.
Just please give credit, lest the effort go in vein.
Clone of PUMA logo C adding characters for Esperanto. The 'E' is for Esperanto. It now supports English, Russian (Cyrillic), & Esperanto. I also modified Э/э to make them more distinguishable from З/з
This is a clone of PUMA logo CVersion 2.6
*
Inspired by a comment by jonrgrover.
I built diamonds sized according to the Fibonacci series, then made a segmented display out of them. The design was then carved away to make the glyphs you see here. I used the members 1, 2, 3, 5, and 8. These sizes proved most feasible to work with in this sort of arrangement.
I gave the terminals a flared appearance which I think makes the glyphs look slightly Celtic. The design also makes me think of beach sand and things found on the beach - shells, pretty rocks, and so on.
A "Connect bricks" font.
It's called linestrider because the outline strides across the inline on both sides. It also reminds me of the courses that are drawn for line-following robots.
The person I made this for requested lowercase. I'll add it as I can.
Another of my many doodles. Fun to make!
Finally, a design where all the diacritics blend in and look natural!
The Zephiest of designs - a gaggle of Roman columns with gongs stacked on them.
Pixel demake of Goud. This is easily the best Goud for body text, as it remains crisp at all sizes!
*
Original size: 9pt (use multiples of this value for pixel perfection)
Version 1.1: Several glyphs (BKMRWXkmwx38&{}µÆæß³Œœ™) were edited for readability and þ was edited to distinguish it from Þ.
*
A font made for a friend's board game!
This gives me a strong "film credits" feeling with its high impact and simple geometry.
Original size: 15pt
*
A font which has a spurless, sans-serif, pixelated polygonal look which is somewhat reminescent of fonts used in VHS technology.
A lot of applied science went into this design. It's designed to remain legible on all media in all use conditions, provided that one uses the original size or a multiple thereof. Numerous technologies and mediums were employed to realize this objective.
"Diaspora" was tested and refined for use with/on/against:
• CRT, LCD & e-Ink screens
• image formats & compressed imagery (GIF, JPG)
• printers (inkjet, bubble jet, laserjet, & thermal)
• analog video & multi-generational copies (VHS, Super 8)
• digital video (AVI, MP4, MPEG, WEBM, WMV)
• 3D and voxel models (Blender, MagicaVoxel, POV-Ray)
• dynamic scaling hardware (game consoles and capture devices)
• imagery plugins & filters, including image degraders
• image scaling/interpolation hardware & software
• image recognition hardware & software
These all have traits which degrade, distort, compress, glitch, or otherwise alter imagery in various ways. This design aims to minimize the loss of legibility from these effects and to attain the best scores possible in various forms of imagery analysis. So far, this has proved extremely useful, as it can remain fully legible even when extreme JPG or video compression are applied to it thousands of times.
A piece of software I helped write, called the Marinan Imagery Deconstruction AI System (MIDAS), is being used on captured images of this font. The end objective is to realize the design which has the best all-around Marinan Interpretability Value (MIV) for all the tested platforms - the design which is considered by MIDAS to be the most legible in the most media under the broadest range of use conditions and quality levels.
MIDAS uses a set of considerations made with both humans and computers in mind, so a high MIV does not necessarily equal a better font - it just means one that the system thinks is easier to visually interpret. Note the use of the phrase "visually interpret" as opposed to "read". MIDAS tries to determine how well people and computers can tell what shapes are, not how much enjoyment they'll get from reading or how much strain they might undergo while doing it.
*
VERSION HISTORY:
1.0.0 - initial release.
1.0.1 - More Latin support added.
1.0.2 - First batch of tests run.
1.0.3 - gjy5&ßẞ were improved, some glyphs added.
1.0.4 - Second batch of tests run. Space width reduced.
1.0.5 - Experimentally converted to a rounded spurless design, then converted back to a plain spurless after testing. A few new ligatures were added.
1.0.6 - Cyrillic and Greek enter development. Many of these letters must be altered to be distinct from their Latin counterparts.
1.0.7 - Some spacing values changed to increase internal consistency. More difficult tests are being devised. However, since only I seem interested in this type of work, this project is going on hiatus for some time.
*
See also: AMFA, a font built with similar considerations in mind
Rather than serve an ornamental or decorative purpose, this one is made to be as clean as possible so that it works well for body text. It's highly legible at small size, so it could potentially even be a programmer's font!
"Goud" stands for "Garden of Unearthly Delights", the name of an album from the band Cathedral.
An ornate Goud with lots o' thorns! Now with MORE THORNS.
This is a clone of GoudA slightly chimeric sci-fi design with no relation to Space Blam, Space Clam, Space Cram, Space Dam, Space Fam, Space Flam, Space Gram, Space Ham, Space Jam, Space Kazaam, Space Ma'am, Space Pram, Space Ram, Space Sam, Space Slam, Space Spam, Space Tram, or Space Yam.
In making this I attempted to achieve a harmony between angles and curves. You can see it especially well on "B", "3", "8", and "&".
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.
High-res version of Marengi.
This is made to be ultramodern and ultraregular, just as high-tech futuristic corporations are wont to make their fonts.
MIV: 7.94
Recommended: Use with kerning and antialiasing turned ON!
Version 1.1
*
A fusion of art deco- and Navajo-style design. Well, many civilizations used a square zigzag pattern such as this, but "Navajo" always comes first to mind when I look at this design.
*
See also: Badwolf
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.
*
Iterated version of an unreleased design called "Midnight Oil". It's also slightly related to Dethzmezenger and Gehenna.
I went against a few of my own conventions for this one. The close spacing might look a bit strange at times, but it eliminates the need for kerning while also creating a unique look. The overlapping spurs make me think of thorny plants!
This is an original design, but it does make me think of Planescape: Torment when I look at it, thus the name!
Version 1.5
*
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.
*
See also:Basalt Pixel
A medium-res pixel font I designed in 2017 for printing the text of "The Story of Book" (TSoB), a tale which began life as an imaginary joke story and then was actually committed to paper.
TSoB is woven from my and my friends' whims, flights of fancy, in-jokes, and intentional idiocy, as well as contributions from several AIs. The resulting story changes tone, style, mood, and context at seeming random, and is subversive toward its media and reader beyond insufferability. All this was done just to make Trap Farmer Brer Brah slightly more interesting to the very few people who will ever bother to get and read The Story of Book in-game. So this font is based on an Easter egg.
Trying this style out. The name comes from a monster in the game NetHack.
*
See also:Gridlarva
Version 1.6
An attempt to make a "classroom" font. It reminds me of a font style which was once commonly used on magnetic letters.
*
See also: Hydrangea Unicase