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Presenting... Ari-W9500 - a complete pixel font family with multiple weights & styles.
This is basically pixelated Arial. Nothing interesting, really. The font is heavily inspired by the pixelated font used in Microsoft's Windows 95. The project was originally meant to be an improved and revamped version of the popular W95FA pixel font.
With more than 1600 glyphs, the font can support a wide range of languages (primarily supports Latin, Greek and Cyrillic).
The alternative glyphs of all the font styles included in the family are stored in the "Braille Patterns" Unicode block.
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Extra context:
For those who are wondering, Ari-W9500 began under construction BEFORE Roguewas even planned. After done publishing Rogue, I just wanted to finish this project up and move on.
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The entirety of the Ari-W9500 font family (6 styles):
• Ari-W9500 Display (Extra-bold)
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Future plans:
Looking forward to adding Hebrew support soon.
Due to technical difficulties, I WILL NOT be making italic versions for the styles.
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If you see any glyphs in the font that's incorrectly designed, please tell me by commenting.
Feel free to clone the project and add additional language support (e.g.: CJK, Thai, Arabic, Devanagari) as you wish.
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Thanks for enjoying this moment with me.
The bold weight of Ari-W9500.
This is a clone of Ari-W9500The bold weight of Ari-W9500 Condensed.
This is a clone of Ari-W9500 BoldA typeface designed to be ideal for coding applications. This typeface aims to be a simple pixel font that can both easily be read at small sizes and also look classy at the same time. Each character is designed to have its own unique shape to avoid confusing one character with another (something I found to be a common issue with most pixel fonts).
This is a cloneKhnum /ħe.'nu:m/. I've updated this font, and given it an italic version, which is available on Font Library. There are three versions: Regular, B Regular, and MS Regular. B is for Bulgarian. MS is for Macedonian and Serbian. The inspiration for Khnum came from Media SA, which was my first large-scale font created many years ago. However, I wanted this font to be a non-modular font, so I re-created it on a small-scale.
Khnum has been updated and redrawn, and is now called Hhenum, which you can get on Font Squirrel.
This is a cloneGlyphLandyn/Lilly is a sans-serif, pixel optimized with monospace Latin, Greek and Cyrillic letters and PUA (Private Use Area) characters. The  Object Replacement Character is a full square.
This font also includes Thai characters and Linear B Syllabary.
This font is edited with Fontstruct.
Just a simple font I made.
1433 Unicode Characters!
WOOHOO!!!
This is a cloneMaking it while listening to music
It's not kerned yet, but I need a lot of studying kerning. Also i'm too lazy to kern :(
It can only support Latin, Cyrillic and Greek (And sometimes Coptic), plus, Hebrew and Armenian!
If you want to know, A,B,P,S.... are (head)3:1(body).
MOST OF letters are 12x6 except I,T,Y,f,i,l,m,t,y
I've made the numbers thinner. i d even k y. but they look better like this
What about Long leg font? do you guys want a "Long Leg"?
[slashes](Problem solved)
are \ / % ø recognizable? thanks to Se7enty-Se7en and Cookielord, \/%Ø is now better.
THANK YOU \(◦'⌣'◦)/❤❤❤
[ogonek and stroke] (Problem solved)
ogoneks and strokes are annoying me. btw if you're speaking languages with letters that has ogonek or stroke sticked on. try to write a word with ogonek or stroke and remove the ogonek or stroke. and then recognize them
if you CAN. then why do you even put it on?? ¯\_(૦ઁᗝ૦ઁ)_/¯
coment below plz i need to know. :)
[asterisk]
if you don't like it, clone it you lazybone!
[Tags]
I don't speak english well, so plz tell me what is the tag this font should have. :)
JUST A SIMPLE 3×5 PIXEL FONT. THE CAPITALS HAVE A WHITE STRIKETHROUGH.
CHANGELOG
• 2017:03:10 — FIRST RELEASE.
• 2017:12:17 — ADDED QUITE A LOT MORE LATIN CHARACTERS, BRINGING THE TOTAL AMOUNT OF CHARACTERS TO SEVEN HUNDRED AND EIGHTY-SEVEN.
• 2017:12:18 — ADDED TWO HUNDRED AND FIFTY-FOUR CYRILLIC CHARACTERS, BRINGING THE TOTAL AMOUNT OF CHARACTERS TO A THOUSAND AND FORTY-ONE.
• 2017:12:20 — ADDED FIFTY ARABIC CHARACTERS, BRINGING THE TOTAL AMOUNT OF CHARACTERS TO A THOUSAND AND NINETY-ONE.
• 2018:01:05 — UPDATED THE CYRILLIC “И” AND “Й.”
• 2018:01:06 — ADDED TWO HUNDRED AND SIXTY-SIX GREEK AND COPTIC CHARACTERS, BRAILLE AND OTHER SYMBOLS, BRINGING THE TOTAL AMOUNT OF CHARACTERS TO 1357. ALSO UPDATED THE CYRILLIC “Й.”
VOLLE BUISJES — Geometric sans-serif style
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[ INTRODUCTION ]
This font had derived and materialized from my previous FontStruction called Buisjes, and had innitially been planned to be made into this “solid”-style instance that would've then were to be combined and included to the original master font. That idea was later canceled when I decided not to make this part of the “Buisjes”-typeface.
I still went on completed it though, but I was now simply treating it as this unrelated new font instead.
The original “outlined”-variant still stood testimony in this second stage of development, as it served as the global basic backbone for this. But, since it now no longer was bound by accurate representation I could start utilize more dynamic sculpting techniques and make minute adjustments that incnclude some optical corrections, as well as implementing a slight more polished looking geometry.
[ TECHNICAL BACKGROUND ]
I took a clone from “Buisjes” and started modifing it into this new solid style. What I basically did was utilizing the “brick swap”-method in the FS-editor to replace every brick inside the font's “My Bricks”-palette. By doing so, essentially converting the font one-brick-at-a-time into this 1 : 1 conversion of its source without making any additional changes to the actual glyph-contours.
After a while due to some undesirable result that came from replacing the original bricks the design took a different turn when I started realizing that making an exact 1 : 1 conversion into this solid style wouldn't generate the most desirable looking font. This new solid version that was rendered from the “brick swap”-process seemed to have several optical complications, that when compared to the original outline version, had quite the different effect on its physical properties as well as the aesthetic quality of the letterforms, and had far less visual appeal. These newly presented optical misfortune also had a direct negative effect on the font's legibility. In oder to gain a better understanding as to why it took a toll on legibility some additional thing needs to be explained first, to make sense of it all later. This explains in short the visual effect of added contrast that comes from that “bi-linear”-characteristic nature of the outline version, which employs so much more emphasis to the font's overall geometric properties of various form, and therefor to the contour shape of a glyph. In return this has a direct impact on the overall effectiveness of these forms.
The reduction of this additional contrast within the font's “positive vs. negative”-whitespace balance for the solid version results in a letterform that has a rather weak representation of its several typographic components as well as for each of the individual letter-parts that form a whole, which also help to distinguish one letter from another. In simple words this means that a solid style lacks a lot of that emphasis that is present in the the original outline version, and makes for a far less pleasant and effective font.
Another issue I had with the 1 : 1 identical conversion was the unanticipated but pretty drastic deterioration of its initial “wow”-factor in the solid version that was generated. No longer beneficiary from additional added value that came with a more “decorative”-characteristic that is present within a outlined glyph contour. Also the “bi-linear”-nature of the outlined letters sort of gave the impression it was putting double the emphasis to the typographic parts and the geometric properties that make up each letterform. The rather squarish “box”-like characteristics of the lettering became much more evident in the solid glyph face. Shifting visual focus from the previously more ornate display attraction away towards this more “mechanical”-style that is this rather plain and somewhat shallow looking flat faced letter.
All of these were things that worked out just fine in the font's outlined version, but not so much in terms of a solid “filled”-like style.
Here are some of the things that cause trouble within an exact 1 : 1 conversion into solid bricks:
• Enclosed typographic elements render much thicker than what is considered “acceptable”
(requires optical correction)
• Diacritics render too thick and often too big
(requires a complete re-design)
• Radius of FontStruct's default solid circle arc connection brick is too small
‣ Making a solid font constructed from these to look compressed
‣ Arc intersection point not sitting deep enough
• Reduced emphasis in depth of geometric form
‣ Simple rather “feature-less” and “squarish”-looking geometry
(both requires numerous custom composite bricks in order to break-away from these constraints)
— The combination of the above in terms of the appropriate adjustments required to make optical corrections in order for it to have balanced proportions will have such significant impact to certain aspects of the physical presentation of the letterforms that they no longer share that seamless overlapping cohesion, and it couldn't really classify any longer as being this solid / filled style instance to the original master font.
That wasn't all (LOL) but yeah I'm done typing for now!
Hope you like it, more info follows..
Cheers
This is a clone of STF_BUISJESCarthage Sans LKE is an expanded version of my Carthage Sans font, which in itself is a reimagining of Apple's Espy Sans 12 bitmap font. It aims to cover as much as possible of the Latin, Cyrillic, and Greek blocks of the Unicode standard (thus the initials -- "Latina, Kirilitsa, Elleniki"). I'm open to expanding it to any of the other scripts Unicode covers, but I have little to no personal experience with most other alphabets; if you'd like to contribute, I'd particularly be interested in Arabic, Devanagari, Katakana, Hiragana, Armenian, and Hangul. (I would like to add Hebrew as well, but it's hard to get the diacritics right in what's essentially a pixel font. We'll see.) The current status as of 10/28/2015 (the date of initial publication):
-Latin: all of Latin-1, Latin Extended-A, and "Even More Latin"; Latin Extended-B is missing some characters that seem to be mostly either phonetic notation or obsolete.
-Greek: All Greek characters supported by FontStruct. If you need some of the ancient dialect characters like Pamphylian digamma, they're now in the GitHub version; polytonic will appear there as well, if anyone asks for it. Basic Coptic support is there, although I tried to fit it into the Espy Sans aesthetic rather than trying to duplicate the Byzantine-Egyptian traditional style.
-Cyrillic: Still a work in progress, but all Slavic languages using Cyrillic characters should be covered. The main holdup is Abkhazian, which is spoken by just over 110,000 people in the world and also has one of the longest alphabets in the world; I have no idea how many of them would be interested in this, so it hasn't been a huge priority. (Besides, the PT family from Russia's Paratype is excellent and far better than I could do with most Cyrillized languages.) I've emphasized support for several languages, the most important being Vietnamese (75 million speakers deserve some support no matter how tedious it is to do so).
I've also added characters for Old Irish, Old Church Slavonic, and Icelandic. There's a number of characters used in pan-African linguistics I am not sure if I need or not; they'll get filled in eventually alongside the Cyrillic, but how fast I have no idea.
Carthage Sans extended version on GitHub: https://github.com/csyde/carthage-fonts
I am deeply indebted to Keith Martin (@thatkeith on Twitter), formerly of the UK MacUser magazine, and his Espy Sans Revived project for a reference for the original letter bitmaps; Carthage is entirely my work but it's hard to find Espy Sans specimens in the wild, and his work is probably the best.
This is a clone of Carthage SansA retro-styled font inspired by Art Deco and classic computer fonts. Looks like something you'd see in a video game from the 1980's that's set in the 1920's. Includes over 1000 glyphs from Latin and non-Latin alphabets. Best for decoration and titles.
Credit appreciated but not required.
No saben, pero parece que me encariñé mucho de la tipografía Monaco_15 de Susan Kare (Aunque tenga sus Errores).
Lo que pasa con la tipografía es que primero hice la versión bitmap para Windows (.FON) y lo extendí a todos los caracteres Unicode para este formato para que no salga un error en el soporte de idiomas.
Después de muchos años, pude regresar a la pagina que hice esta versión de Monaco_15 llamándolo “MonacoTTF” y lo comencé a desarrollar en el 10/1/2022 y logré extender la cantidad de símbolos disponibles para la fuente.
Recomiendo que lo descarguen su versión TrueType porque comprobé que la versión OpenType contiene errores
(Click para más Información)
La Licencia: SIL Open Font License Update6 15/12/2020
Autora: Susan Kare | Page
Here is an extended version of my Atemayar Rigid Script. This script has taken me years to get to the point where it is. It is incomplete however I figured I would release it with the current list of characters that I have created. While I plan to complete it, it will be some time before this is achieved so please bear with me as life tends to get in the way sometimes.
I began this font August 31, 2017, and I'm releasing it 30 days short of its 2 year anniversary.
Based off the original alphabet of Atemayar Qelisayér featured on Omniglot created by Simon Halfdan Hvilshøj Andersen. Credit for all the original characters of this alphabet goes to him, as well as credit for inspiration. Some characters in this alphabet are wholly original to this font (most are not however), these are inspired wholly by the original Atemayar alphabet in one way or another.
I truly and sincerely hope you enjoy, this font is made for all to enjoy and to spread such a beautiful alphabet to be used for all languages and all writing systems. I love Atemayar more than any existing writing system, I take all my notes in it, and I wish that Simon Halfdan Hvilshøj Andersen's alphabet will be spread around the world and used by many.
The alphabets can be categorized into groups based on the following criteria:
- Pseudo-Atemayar: shares no letters with Atemayar, but appears similar
- Semi-Pseudo-Atemayar: shares a few characters with Atemayar, but overall still looks like its base alphabet and can't be read by Atemayar users
- Modified Atemayar: Follows all/most of the same letters as Atemayar, however has added or modified letters as well
- Classic Atemayar: Original Atemayar alphabet without change
The alphabets' classifications are as follows:
Basic Latin: Classic (except X, which is a ligature of K and S)
Punctuation (all except . , : ; ? ! ... " '): Modified
More Latin: Modified
Extended Latin B: Modified
Extended Latin A: Modified
Greek & Coptic: Modified
Cyrillic: Modified
Arabic: Modified (reversed letters)
Devanagari: Modified (line above letters)
Georgian: Semi-Pseudo
Armenian: Semi-Pseudo
Katakana: Modified
Hebrew: Modified (reversed letters) ***Incomplete***
Hangul: Pseudo ***Incomplete***
Bopomofo: Modified (dots above letters, ligatures)
Thai: Pseudo ***Incomplete***
The 7 segment digts come from the Atari ST.
If you use this, please make sure to credit me somewhere…
feel free to post suggestions, but please no abugidas (except for UCAS, Thai, or Laos, if the font is not monospace) or abjads that are really hard to do or get working correctly (I can do Hebrew, but no yiddish marks)
This font is completely free to use in any project.
The aesthetic of this font is part inspired by my own handwriting, and part just wanting to make the smallest font I could. Standard height is 8p.
Unicode Tables: Basic Latin, Latin-1 Supplement, Latin Extended A (mostly), Greek & Coptic, General Punctuation, Superscripts & Subscripts (mostly), Currency Symbols (mostly), Mathematical Operators (mostly), Block Elements, Geometric Shapes, Katakana, and Fullwidth Forms.
If you have suggestions or comments, email me at magicanstar@live.com
Credit is appreciated.
Credit should be to "MagicianSketch".