Uppercase font. Based in antique romanian alphabets, but modernized. Contains the romanian A, S and T special diacritics (at the <, > and ^ glyphs), and an extra U in the lowercase because the traditional romanian U looks like a V to me. Created during a summer vacation, when travel was still easy.

Cluster, somewhat experimental.

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 This is a fun and nerdy typeface. I wanted to create a typface that is fun and different. I wanted the typeface to be something that is fun to add effects to and be creative with. I created it with my inspiration from Minecraft and NES games.

This ornate typeface was designed with the intention to give every part of a letterform some curve. The end result was a typeface that mirrored the rounded shape of old-fashioned wood spindles like one might find on an antique dinning chair or an elaborate staircase in an ancestry home. Spindles like these were handcrafted and born from the finest lumber a proud wood worker could find. This same type of pride went into the crafting of Simple Spindle.

This is a DMACC project. It has futuristic vibes with a blocky flow. 

Going for a little metal

Sans Serif futuristic typeface, inspired by tribal drawings and space. 

Robinson is a fancy but yet spunky font. It is futuristic and techno.

This is a bold typeface. Its name is "warrior" because it has a strong and dangerous personality. 

A simle bold font that features a filled uppercase set and a hollow "lowercase" set.

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A unique experimental font, made to look like a furnace of some sort. Only composed of uppercase letters.

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A bold, stylized display font. Contains only uppercase.

Extended latin conming soon

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A heavy font (uppercase), including reversible "lowercases".

Extended latin coming soon

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A "replication" of "Tweaky". Not an exact clone by any means but it is close enough for my purposes. Contains only uppercase.

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Named after "lazy", this font has a smooth, layed back apperance.

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Nuclear bomb set. 14 nukes, 10 crosshairs. Inspired by, "Stabby & Synclan - Nuclear Winter". Includes uppercase from A-X.

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A font composed of only uppercase. The capitals have a little chip on the corner for stylization.

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Font from the ingame marquee display of Barcade Brawl, a 2015 game by yours truly. This was made to look similar to the system fonts from old arcade boards, PC microsystems, etc. You've probably seen the fonts I'm talking about; they're everywhere and many people refer to them singularly as "the arcade font" or "the NES font".

This is 7x7 with no wasted matrix, but it looks better without monospacing since not every glyph is the same width. It also makes a decent terminal & chat font, at least for those who don't care about the case of the messages they read and write.

Feel free to use this in your games, etc.!

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

Version 1.1: KRX were modified to be more readable at small size, MQW14'"@ were edited for style, Basic Latin band completed, More Latin band underway.

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A font made by request for an author of custom Warhammer 40K modules.

Font based from the game "Gods".

Added interlocking dingbats to make the items as seen in the game.

This a typeface designed to echo the shapes and patterns found across manholes which cover our network of systems across the UK. Manhole covers have been beautifully decorated with patterns but also act as indicators and safety features. Both patterns and the shaping of letterforms are inspired by manhole covers I have found. Designed to be a display typeface at large scales!

(Version 1.0) I came up with the idea when testing stuff in the editor. Currently only uppercase. Tell me about anything that I should improve!

Cell 13 is a display typeface created for the purpose of my typography project. It features the uppercase alphabet, numerals, and some punctuation. 

A neat language of combining letters to create even more unique characters. Based on some languages like Armenian. Work in progress. 

Read as I read 2 is a typeface that I have developed from the previous design 'Read as I read'. With the same aim to capture the movement upon which the letters are distributed around the page caused by dyslexia. A feature common amongst dyslexics, that causes difficulty and uncertainty when trying to make out written words. In developing the typeface I aimed to increase legibility, to make it more universal. Whilst continuing to capture the context of why I initially created the typeface. Representing this by combining the same letter form twice, and overlayingthem in order to capture the aspect of movement. This time all in captials to help with legibility.