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I created this font in 2019 using BASIN, and it is somewhat of an intersection between Needlecast (low height), Orbiter (open counters) and Datel Tribute (incomplete strokes).
The uniform lines and edges give it a futuristic feel, while broken segments hint at neon signage.
It works okay for titles and short runs of text.
Can be seen in ZXS SPYCTRUM MISSION.
I designed this font in 2006 for BASIN as an attempt to do a font with stars, and sparkle. Instead it became a 1920s-style Broadway font as if it was illuminated by light bulbs. Oh well, stars of a different kind.
A square variant was added in 2020.
It works surprisingly well on sharp displays however some of the tiny detail will likely get lost on CRT if that is your intended audience and it might just look washed out there.
The font is a fresh creation from 2019 with inspiration out of nowhere. A few letters in it took a life of its own as it wraps and sparkles with a futuristic flair.
This font works well for small sequences of text that require a unique futuristic stylized feel.
It is not recommended for large blocks of text or on low-fidelity displays.
This font has been an off-and-on for a few years. Stencil fonts are tough in 8x8 and although they’re quite common in military and combat games they’re often not that good. It’s difficult to be consistent and readable plus many of them entirely skip the lower case.
Standstill tries to be a bit more readable than many serif based stencil fonts by taking a few liberties with the breaks in the letters. The other trick has been to not necessarily double all vertical stems and this worked great on glyphs like 8, M, A, etc. The final trick was only going with single-side serifs where it made for a clearer glyph without compromising the design.
This font works great for titles and list screens. You can use it for prose with a bit of care on the color scheme.