Posts in category display - page 20
There are times when designing a font you just doodle a few characters and it flows through to define the rest of the font. Egyptian Mercy is one of these that I thought up in 2006 and was original enough that I’d spend hours trying to come up with a real TrueType scalable version - an effort that got nowhere once the realization came that the charm and effect derived entirely from square pixels.
In typography terms, Egyptian has a specific meaning - one that I’ve completely ignored here in favor of the more common idea of hieroglyphics with crazy square spirals and triangles standing in for circles to give it also a futuristic feel. It mostly reminds me of the architectural details in Deckard’s apartment in Blade Runner.
It works very well for unique looking titles, menus, and pop-ups but you’d been hurting players if you tried to set a whole text adventure in this.
Can be seen in Scroll of the Time Lords.
A 2006 creation once again for BASIN this time taking the idea of a solar eclipse to fonts and filling in all the counters. The style was quite popular in the 80s with Electronic Arts using a similar thing for their EOA logo.
This font like all no-counter fonts is very hard to read and should be used sparingly for titles.
Yet another font I created for the BASIN package around 2006 that wasn’t so much designed as burst forth as metal music should.
The glyphs are overly bold, angular, and overtly aggressive. I revised a few of them since the 2006 release to fix some height issues with some of the lower-case letters.
The final result works better for large runs of text than you’d expect given the style but it works best used sparingly.
In 2020 I added a new attempt at the style. It’s an interesting different take using small caps for lower-case and is actually based on the square version which was itself an attempt at Soviet poster typography.
Can be seen in HELL YEAH!.
Another font I created for the BASIN package around 2006 specifically designed with wilderness adventure games in mind.
The text is partly upright, partly slanted, all full of curves, and breaks like trees in a long-dead and petrified forest.
The font is quite readable despite the flourishes, tails, and high pixel density and works well for long runs of text such as adventure games.
Can be seen in Vindius: The Videogame.