Discopatentiously Obstructivenating font Copyright 2016-2019 Doug Peters.
This is my own clone of the original version. It may look a little like my Kindegraf or Sketchy fonts, as it's my handwriting with a mouse, and I bet there isn't a lot of deviation there (with the handwriting) but it IS different. More characters would require more work. Happy to do it, but not for free.
Categories: Pixel font.
Types: Hand printed lettering.
Weight: Regular, Curly.
Web font: I don't think that would be a good idea, NO.
Commercial use: When Purchased.
Derivatives: NO.
Redistribution: NO.
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A pixel font which combines four experimental techniques at once:
1. Structurally disconnecting the stems from the open parts of letters.
2. Allowing glyphs to extend beyond the reaches of width and starting position.
3. Designing glyphs specifically to connect and form new shapes, rather than simply allowing shapes to emerge from existing characteristics.
4. Designing glyphs so that the overall font is free of a need for kerning.
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Alternates are now on UPPER CASE. I'll continue to update this as I get more ideas!
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Original size: 6.75pt (use multiples of this value for pixel perfection)
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.
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A vaguely Courierlike OSD (Onscreen Display) font which tries its best to be casual. The name is inspired by the old computer joke: "Who is General Failure and why is he reading my hard disk?"
No filters or faux-beziers, just stock bricks and a bit of stacking/nudging!
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More about the design:
It started as a doodle and an attempt to make a smooth, low-resolution, low-poly font, and then it became a Courierlike. I have other fonts that tried to do polygonal round shapes before this (such as Cartoon Riot) but this design is my first real success in this area.
Initially, I made the angled glyphs before the round ones. I didn't want to change the angled ones, so glyphs like C, O, and Q became a bit wider than they are tall. I'm quite fond of this, because in most designs these glyphs tend to have a tall and narrow character. I think the mildly squat look of this font makes it cuter and gives it more personality.
A lot of glyphs were altered in specific ways to look more like metal type, especially anything with diacritics which touch the letters themselves. Other glyphs were altered specifically to be interpretable at small size. I also use angled contours and actual round bricks alongside each other within the same glyphs, another technique which is geared toward style and interpretability at small size.
This font came with many new challenges and an array of new techniques had to be designed. Loops were an insurmountable challenge because of the low resolution and heavy line weight, so I drew rounded areas to suggest them. You can see it on letters like Greek γ, ζ, and ξ.
Alternate take on Nirvanite, this time with bullseyes rather than solid circles as the large segments.
This one is a lot more organic than its predecessor, but also a lot more confusing. Looks like clusters of alien tadpole eggs to me!
This is a clone of NirvaniteI decided to make a design which incorporated the thinnest/lightest weight lines possible in FontStruct. This is the result; I'll add more if people like it.
These 1/32 lines cannot be accurately nudged, so a unique line has to be built for each vertical position where I want a line. These lines also cannot be centered on a place where two curves meet (such as the middle of B or R). This introduces some unintentional asymmetry to the design, but I like it, so I'll keep it.
There is also the problem that forming a diagonal line of the same line weight is nearly impossible. While angled 1/32 lines can be formed, their angles are all close to 0. No method exists for making a line which slants at 45 degrees while also being 1/32 weight. So, I had to make some thicker lines in certain areas. I don't think they detract from the design, but if you scrutinize this enough, you'll notice them.
An experimental design using 1/8 weight lines alongside 1/16 ones. The 1/8 lines are the smallest that can be accurately nudged. Centering them is still a problem at times, and I need a few impossible composites to perfect the glyphs ABEFHKQRXYijkx34789, but overall I'm quite fond of how this doodle turned out.
I think I could use some intensive compositing to get rid of the central dividing line in glyphs like A and H. I'll give it a try when I can.
Small-grid doodle which creates new combinatorial forms.
I considered this design rather rough and unappealing until I gave it negative spacing. This caused the forms to merge together in unpredictable and interesting ways. The lesson here is that sometimes the metrics, not the aesthetics, are what "make" or "save" a design.
Some kind of great big ol' chain.
In retrospect, I think it looks like a jewelry chain from a dwarven civilization. Perhaps the hypothetical jeweler cut and ground the stones in an imitation of some dwarven font!
When glyphs are used in isolation, they somewhat resemble carved signets or seals. Increasing the letter spacing allows you to create a variation of the design. (This is something that must be done in-software since the font will render as monospaced by default.)
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12SEP2018: Added lowercase... the low resolution combined with the design method make it very difficult to render distinctive lowercase versions of every letter, but I'll keep working on it. There's a lot of similarity between pairs like S/5, Z/2, etc., so this font is most effectively used in forms of writing wherein context suffices to inform the reader as to the identity of each glyph (lists, prose, and technical writings). If you want to use this in a password system or something, I recommend using one case's glyphs only.
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Design Rules:
1. Negative spaces will be areas of 0.5 bricks' effective length or width.
2. Negative spaces may exceed the 0.5 measurement only by increments of 0.5 and in only one dimension at a time.
3. Glyphs will fill their framed canvasses to the greatest extent possible while adhering to the other rules.
The Zephiest of designs - a gaggle of Roman columns with gongs stacked on them.
The new Eyeball Kids™ from Pixel Kitchen® are the best way to get your child interested in experimenting with eyeballs. Color 'em! Italicize 'em! Throw 'em into oncoming traffic! Abuse 'em all you want because EYEBALL KIDS ARE ETERNAL.*
! ! ! DO NOT FEED EYEBALL KIDS AFTER MIDNIGHT ! ! !
* - Eternal under normal use conditions. See the enclosed manual for terms.
SPOOKY GHOST FONT. A work in progress. Getting the right spooky apparition look is pretty intensive, but I managed to finish the basic character set before Halloween. :D
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This started as a 5x5 design. After realizing S and Z would look far better if I made them 1 square taller, I converted the whole font to be roughly 5x6. At this low resolution, it's hard to get the degree of irregularity which I think makes these letters look ghostly... but, the idea is certainly present!
This design seems like it'd fit in with a lot of horror and science fiction stuff, too. Apart from the "smoky"/"ghostly" look, it has a "melted" one which suggests a hot place or maybe immersion in acid. It also looks a bit like slime, and finally at smaller sizes it has a glitch-esque appearance.
An avantgarde serif with a mild horror theme. It takes advantage of the properties of antialiasing/text smoothing algorithms to render a convincingly handmade aesthetic.
Making attractive, consistent, nonpixel serif designs at this grid size is quite a challenge. Making them look handmade is even moreso. I've tried that many times, but this design is the first such one I felt was truly usable. It doesn't quite look typewriter-esque, but blends well with other designs that are.
For this I used many different serif shapes, with each one depending on how the line it was attached to wanted to bend or terminate. This is in contrast to most other serif designs I've seen, in which the serifs themselves are more consistent in shape. I decided against faux-bezier curves for this, because they all looked way too polygonal. I think this is one of few cases where a rectangular O and S enhance the overall design rather than weakening it.
EXPERIMENTAL BLACKLETTER THING or EBT (codename "Chimera Spine") first came into AMFA custody on July 23, 2018. As of this time it is still considered to be non-dangerous. Study of EBT has proven that there is a relationship between its venomous barbs and English letter frequencies, with more common letters being especially likely to have these barbs. The venom itself, while not lethal to any known form of biological tissue, has [REDACTED] effects on the human psyche.
The first of a kind - an experimental font made with the new pizza slice brick. :D
Somehow it makes me think of jukeboxes, particularly letters like "A" and "O" which have the same sort of "mosaic lighting" look which many jukeboxes have.
No filters, just nudging!
Iteration 4: Basic Latin kerning finished.
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DOODLE DOODLE DOODLE!
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Design Rules:
1. Letters with spurs will have the spur begin at the baseline. This provides the distinctive "high heeled" look.
2. Any letter whose traditional design has a straight vertical line on its left side will keep the line, no matter how the lines of the actual letter travel.
V0.2.6: Finished Cyrillic.
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A small scale faux-bezier design with a cutout-esque look. It offers different advantages at different sizes. Most glyphs are legible down to 4pt.
As this design evolves, it gives me an increasing "board games" feeling. This design seems very well-suited for board game parts, especially cards and smaller plastic pieces.
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This has a few notable design features:
- Asymmetry helps keep letters like bdpq from being confused for one another
- Serifs and flags accomplish the same thing for groups of similar letters such as ce and ftſ
- Semiserif style helps reduce the need for kerning to almost zero
- Simplified polygons and counter shapes help pixel optimization
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See also:Cartoon Riot
Another of my many doodles. Fun to make!
Finally, a design where all the diacritics blend in and look natural!
Experimental mosaic... or maybe a new mineral species?
This one started as a doodle. I began placing circles to see what kinds of complex shapes I could make, and this was the result.
It achieves a new visual effect at almost every size up to the original. Also try slowly moving the zoom slider for some interesting animations!
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This font is now nearly 1MB in size! I guess it has to do with the intrinsic complexity of circles.