I wanted to try my hand at something I've never done before, a connected font. Inspired by, "Stabby - Unreachable".

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Inverted marquee made for a friend. A lot of conversations we had informed this design, but those are best kept between us. Suffice to say that the friend in question wanted this font to embody certain principles of his avant-Daoist beliefs, and he is satisfied that the current form of this font accomplishes the goal.

A harsh 2-in-1 pattern font.

This is my attempt to make the smallest possible font. Each character fits inside a 3x3 pixel square (4x4 pixels if you include the space between characters).  This font can be useful where pixel space is at a premium, like on an LED matrix or a mechanical display.

I don't consider this a truly complete font because there is no distinction between the capital letters and small letters. Also, some of the special characters can be difficult to descern without context. Nevertheless, this font can create readable text strings and convey information using a minimum of resources.

I am publishing this font under a Creative Commons license, so that anyone can use it for any purpose. Attribution is appreciated but not required.

Leave a comment if you make something cool with it!

James Robert Patrick IV

This tileset was developed specifically for use with GBStudio, where graphics are stored in the system as 8x8 tiles. By using these tiles, one can incorporate a greater variety of tiles into a map without running into the 192-tile limit which Game Boy hardware has.

Well, before making this I already found ways to break that limit (and to use larger tiles), and the resulting games compile fine and even work on real hardware. I made this anyway for those who wish to never exceed 192 tiles, thus keeping their games small in filesize and reducing the likelihood of compiling problems.

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Original size: 6pt (use multiples of this size for pixel perfection)

A simple 16x16 terrain tileset. This is designed to work in color AND in monochrome.

In making this, I condensed all known biomes (terrestrial, aquatic, air, space, manmade, transitional) into 26 tiles. This allows a given tile to define multiple different types of areas/terrain, and it allows you to come up with your own meanings for these tiles, rather than having to memorize a legend. Some of the tiles are obvious and some are not; this is by design.

A-Z, a-z = terrain

0-9, 0-9+SHIFT = map borders/frame

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Original size: 12pt

Map Template:

.0123456789
!,,,,,,,,,,
@,,,,,,,,,,
#,,,,,,,,,,
$,,,,,,,,,,
%,,,,,,,,,,
^,,,,,,,,,,
&,,,,,,,,,,
*,,,,,,,,,,
(,,,,,,,,,,
),,,,,,,,,,
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See also:Donjon 16, Gremlin Skins

A hybrid font made for a friend's game.

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See also:Fuzzy Logic

KYOOOOB! The font CANNOT BE HALTED.

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When I was in school, there were two things everyone was drawing: the "Cool S" and the 3D Cube.

DNA-esque doodle.

I started doodling and ended up with this - a semimodular design that looks like a fusion of Coptic, Elder Futhark, Hebrew, and Latin. Arabic numerals included, of course!

Experimental cloud flower doodle thing.

While this looks bizarre, it creates some unique effects. It is also visible at FAR smaller sizes than any other font I have seen. Check out the Pixel view to see. Interestingly, this superb readability is lost once the font is enlarged from this size.

I haven't figured out what to do with the numerals yet, and only put the placeholders there so I could get a better preview on my page.

By request. This is the Shepard Tone of fonts - constantly rising and falling. Best viewed at around 2x Pixel size.

I was initially going to do a lowercase for this, but then the requestor changed their mind. So this being published as-is.

This is your medicine. YOUR medicine! So if you don't like the taste, maybe don't drink it.

A continuation of ideas present in Limbus, with a bunch of new ideas for good measure.

A font resting on some columns. This was a doodle that became an experiment, so there was a lot of iterating.

I made the columns wide enough for a variety of different designs to be able to stand on them, so feel free to clone this and try your own!

Guess who made another font with diamonds? This uses both additive and subtractive techniques in a minimalistic way to make a moderately readable design. Best viewed at extremely small or extremely large sizes. At small sizes, it takes on a Western slab serif-esque appearance.

A monospaced version of Barcade Brawl that has been modified to work well as a roguelike font. Not every glyph is centered yet, but all the Basic Latin and More Latin ones are.

A few glyphs (such as #) are modified to break the matrix so that they link together. This is because these glyphs are used to form continuous walls and other structures.

Note also that this design uses a 7x7px matrix which is monospaced at 8px to create 8x7 tiles. I have placed a stray pixel on an unused glyph to make 1px of extra line spacing occur so that the final tiles are 8x8. The preview here onsite adds another px, so it looks slightly out of square. The sample below does too, because it was made before this fix was implemented. 

I was working on another spinoff of this that was high-resolution rather than pixel, but since this font has the same LC and UC, I might transplant those glyphs to this font as well to make it as multifunctional as possible. That will more than double the work of making an already big font, though, so it will depend on whether this font gets used by others. A few game developers already use the original "Barcade Brawl" so there is a possibility...

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Original size: 5.25pt (use multiples of this size for pixel perfection)

A serif font wherein almost every glyph has serifs and the serifs determine a glyph's shape. All lines that are not serifs or forming a vertex with a serif are isolated. This is a different technique than I used for Lonewolves Guild and Nurvusystem.

This is a borderline IVO design, not because of its appearance, but because it requires the same set of visual considerations to interpret.

A font made to be very economical.

This design uses as few unique shapes as possible. In addition to extensive rotations and flips (see AR, EMW, FL, GJUV, IHKT, NSZ25), glyphs are made so that they can be cut down to make other glyphs in as few cuts as possible (see BEI, used to make ACDFLMNOPRSWYZ1235689). Some other glyphs (see QX.,) then make use of the cut parts.

This means that, were these letters to be physically made, the maker would only need a few forms to start with and could cut the rest in only a few steps.

The name was chosen because of both a running joke between friends and because it was the coolest-looking phrase I tried when I auditioned the font.

Instant Stratification! This font has it, and it's yours for the low price of NOOOOOOOTHIIIIIIIING.

Just when you thought I was out of 5x5 pixel font ideas... 

Variant of Ninevolt with the extraneous squares blacked out.

Just doodling!

It breaks up clusters of words wherever punctuation appears. This might help with reading it out loud, by showing how long a sentence is at a glance and making it very obvious where to pause.

Font for Razma TV, a procedural TV show generator.

This has already proven quite useful for making scanline art!

Two fonts used in the game Naively. Only the original character sets have been included.

By request, "a font where all the letters look like Mega Man capsules."

Tiny font with a 1x5 global matrix.

Pixel demake of Arizone Unicase. Same glyphs as the original.

A space-esque design made for a friend! The angular counters give this a simplified geometry which makes it easy to read despite its looks. Works well for small- or large-scale applications - chat, terminals, logos, and more. Supports Dutch, English, and Greek!

The original was cloned off and preserved elsewhere. The version you see here has centered glyphs.

By request, a "junk font". Looks pointy, glitchy, fuzzy, janky, grungy, burned, rusty, distressed by power tools, or some superposition of ONE OF THESE OR MORE, depending on the size used and the rendering effects (antialiasing, smoothing, etc).

Rather than force the letters into convincing classical forms, I focused on making sure each letter was thoroughly scrambled. This design could in theory be used with an image-recognition script in order to be put to cryptographic uses... the result would be fun, but not very efficient or crackproof. UC is the same as LC, at least for now.

The original brick-of-bricks is located on ".". This is the template from which the other glyphs were made.

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Design Rules:

1. Up to 25 distinct bricks from the palette may be used in the overall construction.

2. Each glyph will incorporate a heterogeneous mix of these bricks.

3. Bricks may not be flipped, rotated, stacked or composited.

Version 1.1

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An alternate take of Diamond Eyes with circles replacing the 2 smallest diamonds. No brickswapping used - many diamonds shared bricks so I had to place the circles by hand. This permutation introduces more texture, solidity, and complexity to the original. Hope ya like it!

An experimental segmented display. It's called Cornerian because it has a lot of corners in it. HA HA I AM LE JOEK MASTER