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AParliamentofOwls is � 2008 by bobistheowl for Metaphase Brothel Graphix. All rights reserved. All fonts in this series are freeware. Have fun with them, and if you use them to make anything worth sharing, consider sending me a copy. If you like this font series, please let me know at [email protected].
This font was made with MS Paint and ScanFont 3.13. If you would like to make fonts like this yourself, ask us how.
My name isn't bob, and I'm not an owl. Why I use that name is a long story, and it has nothing to do with my fonts. My mother used to collect owl figurines, and we had a family of Barn Owls living by our cottage. I wanted to see how well photographs of birds would convert to monochrome, and this series is the product of that experiment. The pictures themselves convert well, but many of them exceeded the memory limits of ScanFont. Apparently, ScanFont doesn't like random black and white pixels here and there, so most of the editing was just eliminating those extra bits. I had to test the source bitmaps in test fonts one and two glyphs at a time, and I ended up with about 120 successful test fonts, and about 40 that were no goes. What I learned on this one will make similar themed fonts in the future easier to do.
Some of the Metaphase Brothel Graphix fonts appear on dafont from time to time, but most of them are only available on our homepage on Luc Devroye's site:
http://cg.scs.carleton.ca/~luc/bobistheowl.html
Most of my fonts are too complex for Windows Vista when Clearface is enabled, and the large file sizes make them too large for inclusion on a lot of other dowload sites. If you like this one, check out the other fonts on the Metaphase Brothel Graphix homepage.
Selected other bobistheowl fonts:
KleinKarpets
Gyspsy Tarot- Major Arcana
Gypsy Tarot - Minor Arcana
AmyBats1-5
Alice in Wonderland
Through the Looking Glass1 & 2
LaetitiaBats1 & 2
Grim Natwick Betty Boop
Apoux
FrazettaBats1
HaydenPanettiereBats demo
Woodland Creatures
Watch for new fonts on a regular basis. I hope you will find them to be worth the bandwidth and the disk space investmewnts.
~bobistheowl
Sir John Tenniel's Alice in Wonderland was fonted by bobistheowl for Metaphase Brothel Graphix, October, 2007.
In 1865, Tenniel, (1820-1914), illustrated the first edition of Lewis Carroll's Alice in Wonderland*. The first print run of 2,000 was shelved because Tenniel had objections over the print quality; a new edition, released in December of the same year but carrying an 1866 date, was quickly printed and became an instant best-seller, securing Tenniel's immortality in the process.
(Source: http://en.wikipedia.org/wiki/John_Tenniel)
*(Although commonly known by this title, the book is properly named Alice's Adventures in Wonderland).
Sir John Tenniel's illustrations for Alice�s Adventures in Wonderland and Through the Looking Glass are considered to be his finest and most enduring achievement. They must also rank among the world's best-known children's images.
The Dalziel brothers were commissioned to engrave the boxwood blocks on which Tenniel had made his drawings. The engravers advised Lewis Carroll that the engraved blocks should not be used for printing the illustrations in the books but instead they would act as the masters from which electrotype copies would be made. It was from these electrotypes that all the illustrations in the Alice books were printed with a resultant loss of definition.
(Source: http://www.johntenniel.com/about.php)
The images used in this font are in the Public Domain. This font is freeware. You may do anything you want with it, except claim the fonting as your own work.
Alice in Wonderland was created using MS Paint and ScanFont 3.13.
This is my seventh font, and it holds the unofficial record of largest file size for any font without an upper case character range. I would like to have made the glyphs even bigger, but it appears that, in ScanFont, the upper limit for font size is 2 MB. This one clocks in at 1.96 MB. I was able to create this font as a .ttf file in Scanfont at 2.04 MB, but it arbitrarily deleted the glyph for the single quotation mark.
There are 43 character glyphs in this font. All glyphs can be generated from the keyboard keys in lower case. The sequence of illustrations is as follows:
abcdefghijklmnopqrstuvwxyz1234567890-=[];,.
All original images used were 280 pixels in height, (about 2.92 inches, or 7.4 centimeters), with variable widths of 280 pixels or less. The images were saved as monochrome bitmaps, then re-encoded in TIFF format before imported them into the font, (the TIFF images were equal in quality to the monochrome bitmaps, but slightly compressed, which allowed for all 43 images to be generated in the font). The closeup of the Cheshire Cat, edited from the w glyph, was substituted for an irregularly shaped illustration that was quite similar to the glyph for letter a.
If you like this font, please let me know. If you make any cool documents with it, please consider sending me a copy, or the url where your work is located, at: [email protected]. If requested, you will be added to the e-mailing list for future Metaphase Brothel Graphix font releases.
Other fonts by bobistheowl for Metaphase Brothel Graphix:
HaydenPanettiereBats
LaetitiaBats1
LaetitiaBats2
Gypsy Tarot-Major Arcana
Gypsy Tarot-Minor Arcana
Gypsy Tarot-Minor Arcana Inverted
Special thanks is given to Luc Devroye, for his continuing support, and his assistance in making this font happen.
~bobistheowl
AmyBats are � 2008 by bobistheowl for Metaphase Brothel Graphix. This font is freeware! Please have fun using it for whatever you want. If you like this font, please let me know at [email protected]
AmyBats are a tribute to Amy Winehouse, who, in my opinion, is the most important female vocalist since Janis Joplin, and possibly as far back as Billie Holiday. This poet diva fashionista is the best thing to happen to popular music since Nirvana. Unfortunately, the flame that burns twice as bright burns half as long. I guess to truly sing the Blues, one must live them first. Here's hoping she's able to overcome her personal demons, and continue to make the music that matters. I've tried to capture as many different sides of this lady as possible. You can decide for yourself if I've succeeded.
All fonts in the AmyBats series were made with MS Paint and ScanFont 3.12. I'm not sure how many fonts there will be in this series, but all will be available on the Metaphase Brothel Graphix homepage on Luc Devroye's site:
http://cg.scs.carleton.ca/~luc/bobistheowl.html
Most fonts on the Metaphase Brothel Graphix homepage contain supplemental files, such as character guides and Open Type, (.otf), versions, for Mac users. Check out our other creations. New ones appear frequently.
Please note that, because of the large sized graphics used in the Metaphase Brothel Graphix fonts, they will cause problems for Windows Vista users when Clearface is enabled. I can't help that, so if you are a Vista user who wants to use our fonts, please disable Clearface first.
Other fonts by bobistheowl for Metaphase Brothel Graphix:
HaydenPanettiereBats demo
LaetitiaBats1
LaetitiaBats2
Alice in Wonderland
Through the Looking Glass1
Through the Looking Glass2
Gypsy Tarot-Major Arcana
Gypsy Tarot-Minor Arcana
Gypsy Tarot-Minor Arcana Inverted
Apoux
KleinKarpets
AmyBats2 - ? (more to come)
~bobistheowl
AmyBats are � 2008 by bobistheowl for Metaphase Brothel Graphix. This font is freeware! Please have fun using it for whatever you want. If you like this font, please let me know at [email protected]
AmyBats are a tribute to Amy Winehouse, who, in my opinion, is the most important female vocalist since Janis Joplin, and possibly as far back as Billie Holiday. This poet diva fashionista is the best thing to happen to popular music since Nirvana. Unfortunately, the flame that burns twice as bright burns half as long. I guess to truly sing the Blues, one must live them first. Here's hoping she's able to overcome her personal demons, and continue to make the music that matters. I've tried to capture as many different sides of this lady as possible. You can decide for yourself if I've succeeded.
All fonts in the AmyBats series were made with MS Paint and ScanFont 3.12. I'm not sure how many fonts there will be in this series, but all will be available on the Metaphase Brothel Graphix homepage on Luc Devroye's site:
http://cg.scs.carleton.ca/~luc/bobistheowl.html
Most fonts on the Metaphase Brothel Graphix homepage contain supplemental files, such as character guides and Open Type, (.otf), versions, for Mac users. Check out our other creations. New ones appear frequently.
Please note that, because of the large sized graphics used in the Metaphase Brothel Graphix fonts, they will cause problems for Windows Vista users when Clearface is enabled. I can't help that, so if you are a Vista user who wants to use our fonts, please disable Clearface first.
Other fonts by bobistheowl for Metaphase Brothel Graphix:
HaydenPanettiereBats demo
LaetitiaBats1
LaetitiaBats2
Alice in Wonderland
Through the Looking Glass1
Through the Looking Glass2
Gypsy Tarot-Major Arcana
Gypsy Tarot-Minor Arcana
Gypsy Tarot-Minor Arcana Inverted
Apoux
KleinKarpets
AmyBats2 - ? (more to come)
~bobistheowl
AmyBats are � 2008 by bobistheowl for Metaphase Brothel Graphix. This font is freeware! Please have fun using it for whatever you want. If you like this font, please let me know at [email protected]
AmyBats are a tribute to Amy Winehouse, who, in my opinion, is the most important female vocalist since Janis Joplin, and possibly as far back as Billie Holiday. This poet diva fashionista is the best thing to happen to popular music since Nirvana. Unfortunately, the flame that burns twice as bright burns half as long. I guess to truly sing the Blues, one must live them first. Here's hoping she's able to overcome her personal demons, and continue to make the music that matters. I've tried to capture as many different sides of this lady as possible. You can decide for yourself if I've succeeded.
All fonts in the AmyBats series were made with MS Paint and ScanFont 3.12. I'm not sure how many fonts there will be in this series, but all will be available on the Metaphase Brothel Graphix homepage on Luc Devroye's site:
http://cg.scs.carleton.ca/~luc/bobistheowl.html
Most fonts on the Metaphase Brothel Graphix homepage contain supplemental files, such as character guides and Open Type, (.otf), versions, for Mac users. Check out our other creations. New ones appear frequently.
Please note that, because of the large sized graphics used in the Metaphase Brothel Graphix fonts, they will cause problems for Windows Vista users when Clearface is enabled. I can't help that, so if you are a Vista user who wants to use our fonts, please disable Clearface first.
Other fonts by bobistheowl for Metaphase Brothel Graphix:
HaydenPanettiereBats demo
LaetitiaBats1
LaetitiaBats2
Alice in Wonderland
Through the Looking Glass1
Through the Looking Glass2
Gypsy Tarot-Major Arcana
Gypsy Tarot-Minor Arcana
Gypsy Tarot-Minor Arcana Inverted
Apoux
KleinKarpets
AmyBats2 - ? (more to come)
If you would like to make fonts like these yourself, ask us how!
~bobistheowl
AmyBats are � 2008 by bobistheowl for Metaphase Brothel Graphix. This font is freeware! Please have fun using it for whatever you want. If you like this font, please let me know at [email protected]
AmyBats are a tribute to Amy Winehouse, who, in my opinion, is the most important female vocalist since Janis Joplin, and possibly as far back as Billie Holiday. This poet diva fashionista is the best thing to happen to popular music since Nirvana. Unfortunately, the flame that burns twice as bright burns half as long. I guess to truly sing the Blues, one must live them first. Here's hoping she's able to overcome her personal demons, and continue to make the music that matters. I've tried to capture as many different sides of this lady as possible. You can decide for yourself if I've succeeded.
All fonts in the AmyBats series were made with MS Paint and ScanFont 3.12. I'm not sure how many fonts there will be in this series, but all will be available on the Metaphase Brothel Graphix homepage on Luc Devroye's site:
http://cg.scs.carleton.ca/~luc/bobistheowl.html
Most fonts on the Metaphase Brothel Graphix homepage contain supplemental files, such as character guides and Open Type, (.otf), versions, for Mac users. Check out our other creations. New ones appear frequently.
Please note that, because of the large sized graphics used in the Metaphase Brothel Graphix fonts, they will cause problems for Windows Vista users when Clearface is enabled. I can't help that, so if you are a Vista user who wants to use our fonts, please disable Clearface first.
Other fonts by bobistheowl for Metaphase Brothel Graphix:
HaydenPanettiereBats demo
LaetitiaBats1
LaetitiaBats2
Alice in Wonderland
Through the Looking Glass1
Through the Looking Glass2
Gypsy Tarot-Major Arcana
Gypsy Tarot-Minor Arcana
Gypsy Tarot-Minor Arcana Inverted
Apoux
KleinKarpets
AmyBats2 - ? (more to come)
If you would like to make fonts like these yourself, ask us how!
~bobistheowl
Alphabet Pornographique by Joseph Apoux, France, c. 1880 was fonted by bobistheowl for Metaphase Brothel Graphix, November, 2007. The original colour graphics used for this font are available on the Internet at:
http://www.sexoteric.com/blog/index.php/__show_article/_a000018-001091.htm
Apoux is my tenth font, and first non-dingbat. It was made with MS Paint and ScanFont 3.12. Unfortunately, there isn't any background information on Joseph Apoux. He has no entry on Wikipedia.
If you have interest in the history of erotic typefaces, Max Bruinsma's essay on the erotics of type will interest you. It can be found at:
http://www.xs4all.nl/~maxb/erotype.html
If you like this font, please let me know at: [email protected]
Metaphase Brothel Graphics is pleased to announce that our font collection is now being hosted by Mr. Luc Devroye on his site. Please visit our homepage:
http://cg.scs.carleton.ca/~luc/bobistheowl.html
for new Metaphase Brothel Graphix creations. The downloads on the home page often include supplemental files, such as character guides.
Other bobistheowl fonts for Metaphase Brothel Graphix:
HaydenPanettiereBats
LaetitiaBats 1 & LaetitiaBats2
Alice in Wonderland
Through the Looking Glass1 & Through the Looking Glass2
Gypsy Tarot-Major Arcana
Gypsy Tarot-Minor Arcana
Gypsy Tarot-Minor Arcana & Gypsy Tarot-Minor Arcana Inverted
~bobistheowl
BeautyMarks font is � 2012 by bobistheowl for Metaphase Brothel Graphix. All rights reserved. This font is intended for a mature audience, so please use your own judgement in deciding if that applies to you. The equivalent rating for a movie would be PG-13 - some nudity and mature themes.
This font is free, have fun with it! Made with ScanFont 3.13 and MS Paint. I find images on the Internet, and redraw them to two tone bitmap images, composed for monochrome, with a constant height of 280 pixels, and variable width.
If your download included the FontLab .vfb project file, you can make alterations to this font to change or improve any of the glyphs for a specific usage.
The extra large glyphs in this font are approximately 275% as large as for standard fonts - use 26 point size in BeautyMarks to make images the same size as the 72 point size in a standard font.
When I first started collecting fonts, among my favorites were the Sexy Silhouettes series by Darrian Lynx, and I wanted to make fonts like those myself. I just needed to learn to draw better before I could do that.
I try to make the fonts that I would most want to collect if they were made by someone else, and I also try to make fonts with images that could not be properly realized, if the source graphis were smaller. You can decide if I was successful.
Notes on some individual glyphs:
1) b, c, d, e, j: These are based on photographs of American gymnast Nastia Liukin. The j glyph sort of reminds me of Jesus Christ on the cross.
2) m: This reminds me of the Freemason's compass.
3) G: This glyph, in a slightly altered form, originally appeared in the single glyph font Amuse-Bouche, completed in September, 2011.
4) K: This glyph originally appeared in the single glyph font Unabashed, (June, 2012).
5) Y: I downloaded this picture about five years ago, with the intention of using it in a font, eventually.
6) 1: In many of my 2007/2008 fonts, I experimented, unsuccessfully, with grey tones. I was pleased with the way the fishnet stockings shading pattern remained stable at lower point sizes. The same shading pattern was used in the ! and % glyphs.
7) 2: This is probably my personal favorite from this project. This glyph of crossed legs in fishnet stockings, (and the mirror image used for the @ glyph), probably account for 20% or more of the total file size of this font. I was unable to see this glyph at 72 points in MS Word when the Zoom percentage was greater than 149%. It's reminiscent of my 2008 font, KleinKarpets. Type the @ glyph followed by the 2 glyph to make a larger, unusual composite that reminds me of childbirth.
8) 3: A smaller and less detailed version of this glyph first appeared as the a glyph in LaetitiaBats1, my second font from September, 2007.
9): 6: This is one of my personal favorites from this project. I love doing checkerboard floors in perspective to create the illusion of depth.
10) 7: This was the first completed glyph for this project, done in March, 2011. This current version is slightly modified from the version that originally appeared in a limited distribution test font. A silhouette version appears as the [ glyph.
11) 8: I wish I could have done more glyphs like this one, but I couldn't find any other similar source images. It also appears as a silhouette in the ] glyph. I think the same source image was used for the b glyph in Darrians Sexy Silhouettes 4.
12) $: This is based on a photo of Natalie Nunn, who was on some reality show. Her picture came up when I did an images search for "Bad Girls" - I think that was the name of the show. I don't really like the pattern used for the shoulder lapels, but I didn't want to spend more time trying to come up with someyhing better.
13) %: This is not Bettie Page, it's a lookalike. I wasn't happy with how the face came out. It's very difficult to do a nose, when you only have three or four pixels with which to work.
14) ^: This image appears as a silhoutte in the ; glyph, and the same source image was used in the u glyph for DarriansSexySilouettes, (it's from a 1940's pinup). This allowed me to determine that the 26 point size in BeautyMarks was the same size as 72 points in standard fonts.
15) \: This was the last glyph I did for this project, and it is Bettie Page. I forgot to draw the index finger on her right hand. I was less than 100% pleased with how this turned out, which is why it's buried on the backslash key.
16) ?: This was the next to last glyph I drew, and it was reused as a silhouette for the } glyph. It's one of my favorites, and it is Bettie Page.
Please send questions, comments, fan mail and hate mail to me at [email protected], should you feel the urge to comment.
~bito
BewarethefriendlystrangerNorml and BewarethefriendlystrangerLandscape are � The Inter-State Narcotics Association, c. 1936, Now in the Public Domain, this graphic was fonted by breatheshempalot for Metaphase Brothel Graphix in 2008. Use the lower case 'a' to create the glyph in each of the fonts.
These fonts are freeware. Have fun with them! They were made with MS Paint and ScanFont 3.13. If you like them, let me know at [email protected]
This is the classic "Reefer Madness" poster from the 1930's, a common feature on dorm room walls in the 1970s, after it was revived and sold as a large poster for $1 by NORML when they visited college campuses.
The Landscape version, at 72 points, prints what is believed to be the largest font glyph ever created in True Type, breaking bobistheowl's unofficial record from Grim Natwick Betty Boop. To make the 72 point size glyph with the Norml version, you have to set left and right margins at .1 inches, or it won't fit on the page.
Check out the source graphics to see what I had to do to make this look as good as possible. All the editing was done at the single pixel level in MS Paint, (one pixel = 1/96 inches). This was an exercise in obsessive compulsive nit picking, to preserve this classic and historic piece of Government propoganda as faithfully as is possible in electronic typeface. Please share with friends, always.
BCNU,
~breatheshempalot
Outstanding is � 2012 by bobistheowl for Metaphase Brothel Graphix. All rights reserved. This font was made using ScanFont 3.13 and MS Paint, with source graphics from monochrome bitmap.
Outstanding is based on Big Vintage Letters by bigletters.org. You can download the original source graphics used to make this font, (1000 x 800 pixel .jpg files), at: http://bigletters.org/big-decorative-vintage-letters.html
The small caps lower case is based on the capitals with the shadows removed. Some letters are unaltered; most are significantly different from the capitals.
I reduced the width of the wide stem on a number of letters, (B, D, E, F, H. I, J, K, L, M, P, R, T, and U), to 30 pixels in my source graphics, compared to 39-42 pixels width in the capitals. A smaller number of pixels was removed from the wide diagonal stem on the V and W - I was able to remove 4-6 pixels in the vertical section between the curvatures of upper and lower serifs. If I had tried to narrow the X or Y, it would have altered straight line slopes. They don't look overly big. The left and right sides of the O were made thinner by increasing the size of the white interior. Both sides of the Q were made equal in the small caps, but the left side is wider than the right in the capitals, by design.
Commercial Use: This font is free. Please use it for creative purposes without restriction. It would be very nice if you were to send me an image link if you design something good using it. - [email protected]
If you like this font, please leave a comment on the site where you downloaded it.
Some additional files, such as Type 1, (.pfa and .pfb), versions of this font, and source graphics will be available on my home page:
http://luc.devroye.org/bobistheowl.html
or through related links elsewhere on Luc Devroye's font site.
So, I found this great alphabet, and thought it would look even better as a font. I downloaded the graphics from bigletters.org, cropped them, reduced the size, (36%, less for the W), and redrew the images to monochrome.
My first .ttf test version, with the 52 glyphs unaltered, was 83 kb. By the time it was complete, it was down to 21 kb, (15 kb for the .otf). I had it under 20 and 14 kb until I made some changes to the header at the very end. Most of the editing in Scanfont involved removing vector nodes, and keeping only the minimum number that are necessary to define the lines and curves, so tension keeps the curves in place, rather than a 'connect the dots' outline.
Outstanding is designed to be used often at larger than 72 points, so even the smallest errors would be noticeable. I think this would be a great font for titling, signage, and athletic wear, like University sweat shirts. The small caps would probably be great in children's books.
I usually do dingbat fonts, so if you aren't familiar with my previous work, yes, the glyphs are much larger than in everyone else's fonts, as they are in all of my fonts. I haven't yet found a limit to the maximum size of a glyph that can be made with ScanFont. I haven't found a need to make them larger than a printed page yet. I try to do fonts that can't be done if the glyphs are smaller. Outstanding looks great down to 14 points in the capitals, and the small caps can be read easily at 6 points, but they don't have a uniform size when they're that small.
Other 2012 fonts by bobistheowl:
MockingjayXL, (April), an extra large single glyph font of the Mockingjay symbol from The Hunger Games, available at fontspace: http://www.fontspace.com/metaphase-brothel-graphix/mockingjayxl
BeautyMarks, (August), an erotic dingbat font available at dafont: http://www.dafont.com/bobistheowl.d1682
and on my homepage
I didn't make any fonts in 2011.
Coming in 2013: King's Ransom, a ransom note font composed of individual letters from 26 different decorative initial sets. I have twelve letters completed, and was working on it when I found the alphabet used for Outstanding.
Best regards,
~bobistheowl
CatBats is � 2008 by bobistheowl for Metaphase Brothel Graphix. All rights reserved. This font was made with ScanFont 3.13 and MS Paint. It's freeware, for any use. If you like it, please let us know: at [email protected]. If you would like to make fonts like this yourself, we can show you how.
Visit the Metaphase Brothel Graphix home page on Luc Devroye's site at http://cg.scs.carleton.ca/~luc/bobistheowl.html for our other fonts.
There were over 68,000 pictures in the Cat Portraits topic on Flickr, and I looked at all of them. A lot of people like to dress their cats in doll clothes, them take their picture. That's just wrong.
Selected other Metaphase Brothel Graphix fonts:
AParliamentofOwls1-3
KleinKarpets
AmyBats1-5
FrazettaBats1-2
GrimNatwickBettyBoop
Alice in Wonderland
Through the Looking Glass1&2
Apoux
Gypsy Tarot (3)
WoodlandCreatures
and many more.
~bobistheowl
��F i x C y s t N e o n i s � 2 0 1 0 b y b o b i s t h e o w l f o r M e t a p h a s e B r o t h e l G r a p h i x . A l l r i g h t s r e s e r v e d . T h i s f o n t w a s m a d e u s i n g M S P a i n t a n d S c a n F o n t 3 . 1 3 . F o n t L a b S t u d i o 5 w a s u s e d t o a d j u s t t h e U P M s i z e . T h e d e s i g n o f t h i s f o n t i s b a s e d o n t h e I B M s y s t e m f o n t T e r m i n a l , c . 1 9 8 1 . T e r m i n a l w a s t h e d e f a u l t f o n t f o r N o t e p a d u n t i l W i n d o w s M i l l e n i u m E d i t i o n , a n d i t i s s t i l l u s e d i n D O S C o m m a n d P r o m p t .
T h i s f o n t i s f r e e w a r e , w i t h o u t r e s t r i c t i o n . I f y o u l i k e i t , p l e a s e l e t m e k n o w a t b o b i s t h e o w l @ h o t m a i l . c o m
F i x C y s t N e o n i s o n e o f f o u r w e i g h t s i n t h e F i x C y s t f a m i l y . F i x C y s t , a s y e t u n c o m p l e t e d , i s t h e s a m e a s F i x C y s t N e o n , b u t s o l i d , w i t h o u t t h e i n l i n e c o n t o u r s . I t w i l l a l s o c o n t a i n t h e r e m a i n i n g g l y p h s f r o m t h i s c h a r a c t e r s e t , ( b o x d r a w i n g , h a p p y f a c e s , c a r d s u i t s , G r e e k l e t t e r s , e x t e n d e d m a t h , e t c . ) .
T h e r e m a i n i n g t w o w e i g h t s , N o t e p a d C l a s s i c a n d D O S B o o t , h a v e g l y p h s 4 0 % a s l a r g e a s t h o s e u s e d i n F i x C y s t a n d F i x C y s t N e o n . N o t e p a d C l a s s i c i s b l a c k t e x t , a n d D O S B o o t i s w h i t e t e x t o n b l a c k b a c k g r o u n d . T h e s e m o r e c o n v e n t i o n a l l y s i z e d f o n t s a l l o w f o r s m a l l e r t e x t s i z e s t h a n t h o s e a v a i l a b l e i n t h e F i x C y s t f o n t s . A l l f o n t s i n t h e F i x C y s t f a m i l y a r e m o n o s p a c e d , a n d t h e o r i e n t a t i o n o f a l l g l y p h s , ( i e : a s c e n d e r s , d e s c e n d e r s , a n d s p a c i n g ) , i s a s p e r t h e o r i g i n a l s o u r c e g r a p h i c s . F o r m o s t g l y p h s , a l l s p a c i n g i s o n t h e r i g h t s i d e . S o m e l e t t e r s , s u c h a s l o w e r c a s e i a n d l , h a v e s p a c i n g o n b o t h t h e l e f t a n d t h e r i g h t , b y d e s i g n . T h e b a s e l i n e i s h i g h e r t h a n f o r o t h e r f o n t s , b u t i f I h a d a d j u s t e d t h i s , t h e w h i t e t e x t o n b l a c k b a c k g r o u n d v a r i a n t w o u l d h a v e b e e n i m p o s s i b l e .
T h i s i s m y f i r s t a l p h a b e t f o n t , ( n o t i n c l u d i n g A p o u x , w h i c h i s m o r e o f a l e t t e r b a t ) , a n d I ' v e b e e n w o r k i n g o n i t o f f a n d o n f o r a b o u t t w o y e a r s . B e f o r e I c o u l d m a k e t h i s f o n t p r o p e r l y , I n e e d e d t o a c q u i r e a d d i t i o n a l t e c h n i c a l k n o w l e d g e . I l e a r n e d W i n d o w s w i t h t h e W i n d o w s ' 9 5 o p e r a t i n g s y s t e m , a n d m y f i r s t c o m p u t e r h a d W i n d o w s M E , s o t h e b a s i c d e s i g n o f t h i s f o n t i s v e r y f a m i l i a r t o m e , a n d I h o p e m a n y o f y o u w i l l r e c o g n i z e i t a s w e l l . I t h i n k i t l o o k s b e s t w i t h b r i g h t g r e e n t e x t o n a b l a c k b a c k g r o u n d , w h i c h g i v e s i t a r e t r o p r e - W i n d o w s c o m p u t e r t e r m i n a l l o o k .
T e r m i n a l i s , p e r h a p s , t h e f i r s t d i g i t a l t y p e f a c e . I t w a s d e s i g n e d t o b e r e a d a t s m a l l p o i n t s i z e s . I ' v e n e v e r s e e n i t d i s p l a y e d a t l a r g e r t h a n 1 4 p o i n t s . I t ' s a l s o a s y s t e m f o n t t h a t h a s n e v e r b e f o r e b e e n a v a i l a b l e i n T r u e T y p e f o r m a t . E a c h g l y p h c a n b e d e f i n e d w i t h i n a 1 2 x 8 m a t r i x , w h i c h i n c l u d e s t h e s p a c i n g , a s c e n d e r s , a n d d e s c e n d e r s . I n f a c t , t h e s o u r c e g r a p h i c I u s e d f o r t h e f o n t h a d t h e g l y p h s a t e x a c t l y t h a t s i z e . F o r t h e N e o n w e i g h t , t h e s o u r c e g r a p h i c w a s i n c r e a s e d t o t w e n t y - f i v e t i m e s i t s ' o r i g i n a l s i z e . I n t h e s o u r c e g r a p h i c s , t h e r e i s a n e i g h t p i x e l e x t e r n a l p e r i m e t e r s u r r o u n d i n g a w h i t e i n t e r i o r .
E d i t i n g o f t h e f o n t w i t h S c a n F o n t w a s t i m e c o n s u m i n g , b u t n o t d i f f i c u l t . W i t h g u i d e l i n e s e n a b l e d , t h e m o r e w i d e l y s p a c e d l i n e s d e f i n e d t h e w i d t h o f t h e i n t e r n a l w h i t e c o n t o u r , w h i c h i s s l i g h t l y l a r g e r t h a n t h e b l a c k p e r i m e t e r , ( n i n e p i x e l s f o r t h e i n t e r i o r , e i g h t p i x e l s f o r t h e p e r i m e t e r i n t h e g r a p h i c s i m p o r t e d i n t o t h e f o n t ) . I n t e s t v e r s i o n s , a n y s m a l l e r r o r s w e r e n o t i c e a b l e w h e n t h e f o n t w a s d i s p l a y e d a t e i g h t p o i n t s i z e . T h e c o p y r i g h t g l y p h w a s i m p r o v e d a s m u c h a s w a s p o s s i b l e , b u t i t s t i l l l o o k s a b i t o f f a t t h e s m a l l e r p o i n t s i z e s .
T h e c o p y r i g h t , E u r o s y m b o l a n d u p p e r a n d l o w e r c a s e L a t i n O w i t h s l a s h a r e n o t p a r t o f t h e o r i g i n a l 2 5 4 g l y p h c h a r a c t e r s e t . I d r e w t h e m i n t h e s a m e s t y l e a s t h e o t h e r g l y p h s , w i t h i n a 1 2 x 8 m a t r i x b e f o r e e x p a n d i n g t h e i m a g e s t w e n t y f i v e t i m e s , a n d h o l l o w i n g t h e i n t e r i o r .
I w o u l d l i k e t o e x t e n d t h a n k s t o " T o t o " a n d L u c D e v r o y e f o r a s s i s t a n c e w i t h s o m e t e c h n i c a l m a t t e r s r e l a t i n g t o t h e c r e a t i o n o f t h i s f o n t . M u c h t i m e a n d e f f o r t w a s s p e n t i n t r y i n g t o i n t e g r a t e t h e ' b l a c k s p a c e ' g l y p h , ( d e s c r i b e d b e l o w ) , w i t h t h e r e s t o f t h e f o n t . W e m e t w i t h l e s s t h a n c o m p l e t e s u c c e s s .
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T h i s f o n t c o n t a i n s a b l a c k g l y p h i n p o s i t i o n 1 2 4 , ( t h e b a r k e y , ( u p p e r c a s e o f t h e b a c k s l a s h k e y , a b o v e t h e E n t e r k e y ) , w h i c h i s u s e d t o c r e a t e a b l a c k s p a c e b e t w e e n w o r d s , a t t h e e n d o f l i n e s , o r b e t w e e n p a r a g r a p h s . P l e a s e n o t e t h e l i m i t a t i o n s o f t h i s f e a t u r e , a n d t h e p r o c e d u r e t o c r e a t e t e x t w i t h a b l a c k b a c k g r o u n d . I t ' s a b i t c o m p l i c a t e d , b u t n o t d i f f i c u l t t o d o . T h e s p a c e b a r i s u s e d b e t w e e n w o r d s , a s u s u a l , f o r t e x t o n a w h i t e b a c k g r o u n d .
F i x C y s t N e o n h a s b e e n d e s i g n e d f o r u s e w i t h b o t h b l a c k t e x t c o l o u r , a n d w i t h w h i t e o r c o l o u r e d t e x t o n a b l a c k b a c k g r o u n d . A t c e r t a i n p o i n t s i z e s , ( 6 , 8 , 1 1 , 1 2 , 1 4 , 1 8 , 2 0 , 2 4 o r 2 6 p o i n t s ) , w h i t e o r c o l o u r e d t e x t c a n b e s e a m l e s s l y d i s p l a y e d o n a b l a c k b a c k g r o u n d , b u t a t o t h e r p o i n t s i z e s , ( 9 , 1 0 , 1 6 , 2 2 , 2 8 , 3 6 , 4 8 , a n d 7 2 p o i n t s ) , s m a l l s l i v e r s o f w h i t e w i l l a p p e a r a t t h e t o p , b o t t o m , o r r i g h t s i d e o f t h e b l a c k s p a c e r g l y p h . T h i s i s c a u s e d b y r o u n d i n g o f n u m b e r s i n t h e D P I p i x e l v a l u e s a t t h e s c r e e n a n d p r i n t l e v e l s . I t i s b e y o n d m y a b i l i t i e s t o f i x t h i s p r o b l e m f o r t h o s e p o i n t s i z e s , I f y o u k n o w a s o l u t i o n t o t h i s e n i g m a , p l e a s e l e t m e k n o w , a n d I ' l l u p g r a d e t h e f o n t . T h e r e a r e n o ' s l i v e r ' p r o b l e m s w h e n u s i n g t h e b l a c k t e x t c o l o u r .
T o c r e a t e w h i t e o r c o l o u r e d t e x t o n a b l a c k b a c k g r o u n d , u s e t h i s p r o c e d u r e :
1 ) T h e t e x t s h o u l d b e t y p e d i n b l a c k , b u t t h e b l a c k s p a c e r s h o u l d b e u s e d b e t w e e n w o r d s , i n s t e a d o f t h e s p a c e b a r .
2 ) I f t h e r e i s n ' t e n o u g h r o o m a t t h e e n d o f a l i n e t o t y p e t h e n e x t w o r d , m u l t i p l e b l a c k s p a c e s s h o u l d b e u s e d t o f i l l s p a c e t o t h e e n d o f t h e l i n e .
3 ) I f t h e t e x t i s c o m p l e t e , o r a p a r a g r a p h e n d s , t h e b l a c k s p a c e r s h o u l d b e u s e d t o c o m p l e t e t h e l i n e , o r a l i n e o f b l a c k s p a c e s s h o u l d b e i n s e r t e d b e t w e e n p a r a g r a p h s .
4 ) I n m a n y c a s e s , i t w i l l b e n e c e s s a r y t o u s e t h e E n t e r o r t h e f o r w a r d a r r o w k e y t o m o v e t o a n e w l i n e o f t e x t , a s t h e w o r d w r a p f e a t u r e d o e s n o t w o r k p r o p e r l y w i t h g l y p h s o f t h e s i z e u s e d i n F i x C y s t N e o n . I m a d e t h e m r e a l l y l a r g e s o t h a t t h e i n l i n e f e a t u r e w o u l d n o t d e g r a d e a t p o i n t s i z e s a b o v e e i g h t . T h i s f o n t i s m o s t u s e f u l a t t h e s m a l l e r p o i n t s i z e w h e r e w h i t e s l i v e r s d o n o t a p p e a r .
5 ) A f t e r t h e t e x t i s c o m p l e t e , t h e t e x t c o l o u r a n d b l a c k h i g h l i g h t c o l o u r s s h o u l d b e s e l e c t e d , a n d a p p l i e d t o t h e t e x t , b u t n o t t o t h e b l a c k s p a c e r g l y p h . E a c h w o r d m u s t b e s e l e c t e d s e p a r a t e l y w h e n a p p l y i n g t h e c o l o u r f o r m a t t i n g , a n d a n y p u n c t u a t i o n s m u s t a l s o b e s e l e c t e d s e p a r a t e l y , a s i f t h e y w e r e s e p a r a t e w o r d s . T h i s s o u n d s v e r y i m p r a c t i c a l a n d t i m e c o n s u m i n g f o r n o r m a l u s e , b u t i t d o e s n ' t t a k e t h a t l o n g i f t h e f o n t i s b e i n g u s e d i n s o m e d e s i g n p r o j e c t .
I f y o u a r e u n a b l e t o s e e t h e s i n g l e a n d d o u b l e q u o t a t i o n m a r k s i n M i c r o s o f t W o r d , c h a n g e t h i s s e t t i n g : M e n u B a r �! T o o l s �! A u t o c o r r e c t �! A u t o F o r m a t t a b �! R e p l a c e �! u n c h e c k t h e b o x f o r " S t r a i g h t Q u o t e s " w i t h " S m a r t Q u o t e s " .
K n o w n b u g : T h e p e r i o d c a n n o t b e t y p e d m o r e t h a n t w i c e c o n s e c u t i v e l y .
N o t e s r e : c h a r a c t e r g u i d e s .
T w o c h a r a c t e r g u i d e s w e r e p r e p a r e d f o r t h i s f o n t . O n e s h o w s t h e f u l l c h a r a c t e r s e t a t e i g h t p o i n t s i n b o t h b l a c k t e x t o n a w h i t e b a c k g r o u n d , a n d b r i g h t g r e e n t e x t o n a b l a c k b a c k g r o u n d , p l u s a s a m p l e p a n a g r a m w i t h g r e e n t e x t o n b l a c k , i n a . g i f i m a g e . T h e s e c o n d c h a r a c t e r g u i d e c o n t a i n s t h e F i x C y s t N e o n f o n t e m b e d d e d i n a M i c r o s o f t W o r d d o c u m e n t . W i t h t h e e m b e d d e d c h a r a c t e r g u i d e , y o u c a n v i e w t h e f u l l c h a r a c t e r s e t a n d p a n a g r a m a t a v a r i e t y o f d i f f e r e n t p o i n t s i z e s , w i t h o u t f i r s t h a v i n g t o i n s t a l l t h e f o n t . J u s t s e l e c t t h e e n t i r e d o c u m e n t , a n d c h a n g e t h e p o i n t s i z e . D i f f e r e n t r e s u l t s m a y b e a c h e i v e d i f c h a n g e s a r e m a d e t o t h e m a r g i n s .
T o e m b e d a f o n t i n a M i c r o s o f t W o r d d o c u m e n t , ( f o r M S W o r d 2 0 0 0 o r 2 0 0 3 ) :
1 ) A f t e r e n t e r i n g t e x t f r o m t h e s e l e c t e d f o n t , G o t o t h e T o o l s o p t i o n i n t h e M e n u B a r , a n d s e l e c t ' O p t i o n s . . . '
2 ) I n t h e O p t i o n s d i a l o g b o x , s e l e c t t h e S a v e t a b .
3 ) U n d e r S a v e o p t i o n s , c h e c k t h e t w o b o x e s f o r ' E m b e d T r u e T y p e f o n t s ' a n d ' E m b e d c h a r a c t e r s i n u s e o n l y ' .
4 ) C l i c k t h e O K b u t t o n t o c o n f i r m t h e c h a n g e s , a n d t o c l o s e t h e O p t i o n s d i a l o g b o x .
5 ) S a v e t h e d o c u m e n t a f t e r c o n f i r m i n g t h e c h a n g e s i n 4 ) a b o v e .
N o t e s o n e m b e d d i n g :
1 ) O n l y o n e f o n t c a n b e e m b e d d e d w i t h i n a d o c u m e n t .
2 ) S o m e f o n t s d o n o t a l l o w f o r e m b e d d i n g . T h i s i s a p r e f e r e n c e s e t t i n g t h a t c a n b e a d j u s t e d b y t h e f o n t d e s i g n e r . T h e e m b e d d i n g s e t t i n g c a n b e s e e n o r a d j u s t e d w i t h F o n t L a b S t u d i o 5 , i n F o n t I n f o �! N a m e s a n d C o p y r i g h t �! E m b e d d i n g . F o u r o p t i o n s f o r e m b e d d i n g a r e a v a i l a b l e :
a ) O n l y p r i n t i n g a n d p r e v i e w i n g o f t h e d o c u m e n t i s a l l o w e d , ( r e a d o n l y ) .
b ) E d i t i n g o f t h e d o c u m e n t i s a l l o w e d .
c ) E v e r y t h i n g i s a l l o w e d , ( i n s t a l l m o d e )
d ) E m b e d d i n g o f t h i s f o n t i s n o t a l l o w e d .
W i t h S c a n F o n t , ' E v e r y t h i n g i s a l l o w e d ' i s t h e d e f a u l t s e t t i n g , I n F o n t C r e a t o r , e m b e d d i n g s e t t i n g s c a n b e s e t o r c h a n g e d t h i s w a y :
a ) U s i n g t h e F o r m a t o p t i o n i n t h e M e n u B a r , s e l e c t t h e S e t t i n g s . . . o p t i o n .
b ) I n t h e F o n t S e t t i n g s d i a l o g b o x , s e l e c t t h e G e n e r a l T a b .
c ) I n t h e r i g h t h a n d c o l u m n , y o u s h o u l d s e e a s e c t i o n d e s c r i b e d a s ' F o n t e m b e d d i n g - L i c e n s i n g r i g h t s . E d i t a b l e e m b e d d i n g s h o u l d b e t h e d e f a u l t s e t t i n g f o r a n e w l y c r e a t e d f o n t , b u t t h i s c a n b e c h a n g e d b y t h e f o n t d e s i g n e r t o o n e o f t h e o t h e r s e t t i n g s , ( i e : s o m e v a l u e o t h e r t h a n ' R e s e r v e d ' .
M e t a p h a s e B r o t h e l G r a p h i x d o e s n o t e n d o r s e t h e a l t e r a t i o n o f e m b e d d i n g s e t t i n g s i n o t h e r p e o p l e ' s f o n t s , b u t i f y o u h a v e S t u d i o 5 o r F o n t C r e a t o r , y o u m a y c h o s e t o d o s o . Y o u w o u l d h a v e t o g e n e r a t e a n e w c o p y o f t h e f o n t f o r t h e c h a n g e d e m b e d d i n g s e t t i n g s t o t a k e e f f e c t . Y o u w i l l p r o b a b l y f i n d t h a t m o s t f r e e w a r e f o n t s , a n d m a n y c o m m e r c i a l f o n t s , a l l o w e m b e d d i n g . M a n y ' d e m o ' v e r s i o n s o f f o n t s , h o w e v e r , w i l l h a v e e m b e d d i n g r e s t r i c t i o n s .
3 ) I f y o u i n s t a l l F i x C y s t N e o n , b u t p l a n t o u n i n s t a l l i t a t a f u t u r e d a t e , S e l e c t t h e t e x t i n t h e e m b e d d e d c h a r a c t e r g u i d e , a n d c h a n g e t h e f o n t i n u s e b e f o r e s a v i n g . I h a d p r o b l e m s o n c e w h e n I d e l e t e d a f o n t t h a t w a s e m b e d d e d i n a s a v e d M S W o r d d o c u m e n t . B o t h t h e d o c u m e n t a n d a l l c o p i e s o f t h e f o n t o n m y c o m p u t e r w e r e c o r r u p t e d i n s o m e w a y . I h a d t o d e l e t e a l l c o p i e s o f b o t h t h e f o n t a n d t h e e m b e d d e d d o c u m e n t f i r s t , b e f o r e d o w n l o a d i n g t h e f o n t a g a i n . I ' m n o t s u r e e x a c t l y w h y t h i s h a p p e n e d , b u t b e c a r e f u l , s o i t d o e s n ' t h a p p e n t o y o u .
* * * * * * * * * * * * * * * * * * *
M a n y o f t h e g l y p h s i n t h i s s e t c a n b e c r e a t e d u s i n g t h e A S C I I a n d E x t e n d e d A S C I I / A N S I k e y c o d e s . T o d o t h i s , y o u s h o u l d f i r s t e n s u r e t h a t t h e N u m b e r l o c k , ( ' N u m L o c k ' ) , k e y i s e n a b l e d . T h e N u m L o c k k e y s h o u l d b e i n t h e u p p e r l e f t h a n d c o r n e r o f t h e n u m b e r p a d . T h e A S C I I / A N S I c o d e s a r e l i s t e d b e l o w . T o c r e a t e t h e g l y p h s i n t h e l i s t b e l o w , d o t h e f o l l o w i n g :
1 ) P r e s s a n d h o l d d o w n t h e A l t k e y .
2 ) U s i n g t h e n u m b e r p a d , ( t h i s w i l l n o t w o r k i f y o u u s e t h e n u m b e r s a t t h e t o p o f t h e k e y b o a r d ) , e n t e r t h e n u m b e r w h i c h m a t c h e s w i t h t h e g l y p h y o u w a n t t o d i s p l a y .
3 ) R e l e a s e t h e A l t k e y .
A S C I I a n d E x t e n d e d A S C I I / A N S I k e y c o d e s :
A l t + G l y p h
7 " b u l l e t
2 0 � p i l c r o w
1 2 4 | b l a c k s p a c e
1 2 8 � C c e d i l l a
1 2 9 � u d i e r e s i s
1 3 0 � e a c u t e
1 3 1 � a c i r c u m f l e x
1 3 2 � a d i e r e s i s
1 3 3 � a g r a v e
1 3 4 � a r i n g
1 3 5 � c c e d i l l a
1 3 6 � e c i r c u m f l e x
1 3 7 � e d i e r e s i s
1 3 8 � e g r a v e
1 3 9 � i d i e r e s i s
1 4 0 � i c i r c u m f l e x
1 4 1 � i g r a v e
1 4 2 � A d i e r e s i s
1 4 3 � A r i n g
1 4 4 � E a c u t e
1 4 5 � a e
1 4 6 � A E
1 4 7 � o c i r c u m f l e x
1 4 8 � o d i e r e s i s
1 4 9 � o g r a v e
1 5 0 � u c i r c u m f l e x
1 5 1 � u g r a v e
1 5 2 � y d i e r e s i s
1 5 3 � O d i e r e s i s
1 5 4 � U d i e r e s i s
1 5 5 � c e n t s
1 5 6 � P o u n d S t e r l i n g
1 5 7 � Y e n
1 5 9 � F l o r i n
1 6 0 � a a c u t e
1 6 1 � i a c u t e
1 6 2 � o a c u t e
1 6 3 � u a c u t e
1 6 4 � n t i l d e
1 6 5 � N t i l d e
1 6 8 � q u e s t i o n d o w n
1 7 0 � l o g i c a l n o t
1 7 1 � o n e - h a l f
1 7 2 � o n e - q u a r t e r
1 7 3 � e x c l a m a t i o n d o w n
1 7 4 � g u i l l e m o t l e f t
1 7 5 � g u i l l e m o t r i g h t
2 2 5 � G e r m a n d b l s
2 3 0 � M u
2 4 1 � p l u s m i n u s
2 4 6 � d i v i d e
2 5 3 � t w o s u p e r i o r
S u p p l e m e n t a r y G l y p h s :
� c o p y r i g h t
� E u r o
� L a t i n o w i t h s t r o k e
� L a t i n O w i t h s t r o k e
� b r o k e n b a r
T h a n k y o u f o r d o w n l o a d i n g F i x C y s t N e o n . O t h e r f o n t s f r o m M e t a p h a s e B r o t h e l G r a p h i x a r e a v a i l a b l e o n o u r h o m e p a g e : h t t p : / / c g . s c s . c a r l e t o n . c a / ~ l u c / b o b i s t h e o w l . h t m l
T h e d o w n l o a d a b l e f o n t s o n m y h o m e p a g e o f t e n i n c l u d e O p e n T y p e o r T y p e 1 v e r s i o n s , ( w h e n t h e y c a n b e p r o d u c e d ) , a s w e l l a s v a r i a t i o n o f t h e s a m e f o n t s f o u n d e l s e w h e r e , b u t w i t h a l o w e r c a s e c h a r a c t e r s e t . T h e o r i g i n a l s o u r c e b i t m a p s u s e d f o r m y r e c e n t ' O b e y ' s e r i e s a r e a v a i l a b l e e x c l u s i v e l y o n m y h o m e p a g e , a s a s i n g l e . z i p a r c h i v e , o r ' � l a c a r t e ' , f o r i n d i v i d u a l g r a p h i c s d o w n l o a d s f r o m a n ' I n d e x o f ' p a g e .
P l e a s e n o t e t h a t m o s t o f m y e a r l y f o n t s , a n d s o m e l a t e r f o n t s w h e r e t h e c h a r a c t e r s e t i s i n l o w e r c a s e , w i l l c a u s e p r o b l e m s w i t h W i n d o w s w h e n C l e a r T y p e i s e n a b l e d . C l e a r T y p e i s r e c o m m e n d e d i f y o u a r e u s i n g a n L C D m o n i t o r . I f y o u w a n t t o d i s a b l e C l e a r t y p e :
1 ) R i g h t - c l i c k y o u r W i n d o w s d e s k t o p , a n d s e l e c t P r o p e r t i e s f r o m t h e s h o r t c u t s m e n u .
2 ) I n t h e D i s p l a y P r o p e r t i e s d i a l o g b o x , s e l e c t t h e A p p e a r a n c e s t a b .
3 ) C l i c k t h e E f f e c t s b u t t o n . I n t h e E f f e c t s d i a l o g b o x , y o u w i l l s e e t w o l i s t b o x e s w i t h d r o p d o w n m e n u s . T h e s e c o n d l i s t b o x s h o u l d b e d e s c r i b e d a s ' u s e t h e f o l l o w i n g m e t h o d t o s m o o t h e d g e s o f s c r e e n f o n t s ' , w i t h t h e c u r r e n t s e l e c t i o n s h o w i n g a s ' C l e a r T y p e ' . T o d i s a b l e C l e a r T y p e , ( a n d d o n ' t d o t h i s i f y o u h a v e a n L C D m o n i t o r ! ) , c h a n g e t h i s s e t t i n g t o S t a n d a r d , t h e n c l i c k t h e O K b u t t o n i n e a c h o f t h e E f f e c t s a n d D i s p l a y P r o p e r i e s d i a l o g b o x e s .
D i s p l a y o f t h i s f o n t , p a r t i c u l a r l y a t l a r g e r p o i n t s i z e s a n d i n a p p l i c a t i o n s o t h e r t h a n M i c r o s o f t W o r d , m a y b e e n h a n c e d i f s m o o t h i n g o f s c r e e n f o n t s i s d i s a b l e d i n M y C o m p u t e r . T o c h e c k y o u r c u r r e n t s e t t i n g , d o t h e f o l l o w i n g :
1 ) R i g h t - c l i c k M y C o m p u t e r , a n d s e l e c t P r o p e r t i e s f r o m t h e s h o r t c u t s m e n u .
2 ) S e l e c t t h e A d v a n c e d t a b , t h e n c l i c k t h e S e t t i n g s b u t t o n i n t h e P e r f o r m a n c e s e c t i o n .
3 ) I n t h e P e r f o r m a n c e O p t i o n s d i a l o g b o x , l o o k f o r t h e c h e c k b o x d e s c r i b e d a s ' S m o o t h e d g e s o f s c r e e n f o n t s ' . C h a n g i n g t h e v a l u e i n t h e c h e c k b o x c a n i m p r o v e v i e w i n g o f s o m e f o n t s , b u t n o t o t h e r s . F o r m o s t f o n t s , y o u w o u l d w a n t t o h a v e t h e ' s m o o t h e d g e s . . . ' o p t i o n e n a b l e d .
~ b o b i s t h e o w l
FrazettaBats by Frank Frazetta. Fonted by bobistheowl for Metaphase Brothel Graphix, 2008. All rights reserved. This font is freeware. Have fun with it. If you like it, let me know at: [email protected] This font was made with MS Paint and ScanFont 3.13.
For more fonts from Metaphase Brothel Graphix, please visit our homepage on Luc Devroye's site:
http://cg.scs.carleton.ca/~luc/bobistheowl.html
FrazettaBats1 is the first of a series of fonts commemorating the 80th birthday of the World's foremost fantasy and science fiction Artist, Frank Frazetta.
Frank Frazetta was born on February 9, 1928 is Brooklyn, New York. His art talent was apparent at a young age, and his parents enrolled him in the Brooklyn Academy of Fine Arts at age 8. At age 16, Frazetta began drawing comic books professionally, a career which lasted through the mid 1950's, most memorably with EC Comics, mainly in collaboration with Al Williamson, Roy Krenkel, and Angelo Torres. Through the late 1950's and early 1960's, Frazetta assisted Al Capp on the L'il Abner newspaper comic strip, and also worked with Harvey Kurtzman and Bill Elder on Little Annie Fanny for Playboy, often uncredited.
In the mid 1960's, Lancer Books began to reprint the Conan series by Robert E. Howard, and Frazetta reached a whole new audience, as a paperbook book cover artist. During this time, he also drew many covers and frontpieces for Ace Books' editions of the science fiction books by Edgar Rice Burroughs, and if it had ever been in doubt, his reputation as a master of heroic fantasy art was assured.
Frank currently lives in the Pocono mountains of Pennsyvania, with his wife, Ellie, who has been the subject of many of his completed works and studies. Together, they maintain a small museum on the site of their estate.
Other fonts from Metaphase Brothel Graphix include:
Alice in Wonderland
AmyBats1-5
Apoux
Gypsy Tarot series
HaydenPanettiereBats
KleinKarpets
Through the Looking Glass series
and many more.
~bobistheowl
FrazettaBats by Frank Frazetta. Fonted by bobistheowl for Metaphase Brothel Graphix, 2008. All rights reserved. This font is freeware. Have fun with it. If you like it, let me know at: [email protected] This font was made with MS Paint and ScanFont 3.13.
For more fonts from Metaphase Brothel Graphix, please visit our homepage on Luc Devroye's site:
http://cg.scs.carleton.ca/~luc/bobistheowl.html
FrazettaBats1 is the first of a series of fonts commemorating the 80th birthday of the World's foremost fantasy and science fiction Artist, Frank Frazetta.
Frank Frazetta was born on February 9, 1928 is Brooklyn, New York. His art talent was apparent at a young age, and his parents enrolled him in the Brooklyn Academy of Fine Arts at age 8. At age 16, Frazetta began drawing comic books professionally, a career which lasted through the mid 1950's, most memorably with EC Comics, mainly in collaboration with Al Williamson, Roy Krenkel, and Angelo Torres. Through the late 1950's and early 1960's, Frazetta assisted Al Capp on the L'il Abner newspaper comic strip, and also worked with Harvey Kurtzman and Bill Elder on Little Annie Fanny for Playboy, often uncredited.
In the mid 1960's, Lancer Books began to reprint the Conan series by Robert E. Howard, and Frazetta reached a whole new audience, as a paperbook book cover artist. During this time, he also drew many covers and frontpieces for Ace Books' editions of the science fiction books by Edgar Rice Burroughs, and if it had ever been in doubt, his reputation as a master of heroic fantasy art was assured.
Frank currently lives in the Pocono mountains of Pennsyvania, with his wife, Ellie, who has been the subject of many of his completed works and studies. Together, they maintain a small museum on the site of their estate.
Other fonts from Metaphase Brothel Graphix include:
Alice in Wonderland
AmyBats1-5
Apoux
Gypsy Tarot series
HaydenPanettiereBats
KleinKarpets
Through the Looking Glass series
and many more.
~bobistheowl
Grim Natwick Betty Boop is � Grim Natwick c. 1990, as a gift to Reg Hartt. Fonted by bobistheowl for Metaphase Brothel Graphix, February, 2008.
This font is freeware. Have fun with it!
There is only one glyph in this font, the lower case a. If you are using it in a document, set your margins at 0.3 inches or less, or you won't be able to type the glyph at 72 points.
Myron "Grim" Natwick, (1890-1990), invented Betty Boop in 1930, for the Max Fleischer cartoon Dizzy Dishes. He was one of the pioneers of animated films, and he was also the lead animator for Walt Disney's Snow White and the Seven Dwarfs.
The original drawing used for this font was presented as a gift to Reg Hartt of Toronto, Canada, who is, perhaps, the foremost authority on classic animated films. Reg runs the CineForum, a small, intimate theatre located in the living room of his home.
If you are in Toronto, look for notices of his film schedules on telephone poles and building sites around town. An evening at the CineForum is an experience not to be missed, when you are in our fair city. Many thanks to Reg, for putting this graphic on one of his flyers, from which I made the scan.
~bobistheowl
Grim Natwick Betty Boop is � Grim Natwick c. 1990, as a gift to Reg Hartt. Fonted by bobistheowl for Metaphase Brothel Graphix, February, 2008.
This font is freeware. Have fun with it!
There is only one glyph in this font, the lower case a. If you are using it in a document, set your margins at 0.3 inches or less, or you won't be able to type the glyph at 72 points.
Myron "Grim" Natwick, (1890-1990), invented Betty Boop in 1930, for the Max Fleischer cartoon Dizzy Dishes. He was one of the pioneers of animated films, and he was also the lead animator for Walt Disney's Snow White and the Seven Dwarfs.
The original drawing used for this font was presented as a gift to Reg Hartt of Toronto, Canada, who is, perhaps, the foremost authority on classic animated films. Reg runs the CineForum, a small, intimate theatre located in the living room of his home.
If you are in Toronto, look for notices of his film schedules on telephone poles and building sites around town. An evening at the CineForum is an experience not to be missed, when you are in our fair city. Many thanks to Reg, for putting this graphic on one of his flyers, from which I made the scan.
The companion font, Grim Natwick Betty, is identical, but at 2/3 the size of the main font. This allows for many additional point sizes, but some will overlap, (ie: 18 point size for Grim Natwick Betty and 12 point size for Grim Natwick Betty Boop will yield identical sized glyphs). The Grim Natwick Betty font has one glyph, the capital A.
It was pointed out to me on the animationshow.com forum that the heart-shaped lips are not consistent with Betty Boop model sheets, so a second set of two fonts was created, for more historical accuracy. These fonts do not have spaces between the words in the font name, so all four versions can be installed at the same time, without conflict.
~bobistheowl
Gypsy Tarot-Major Arcana, Gypsy Tarot-Minor Arcana, and Gypsy Tarot-Minor Arcana Inverted are � 2007 by bobistheowl for Metaphase Brothel Graphix.
If you like these fonts, please let me know at [email protected], or post a comment where you downloaded them.
This font was created using MS Paint and ScanFont 3.12. The original bitmaps are all 269x460 pixels high.
The glyphs in these fonts are enormous at large point sizes. For that reason, you may find that installing the fonts or using them in a document will be much slower than for most other fonts.
Other Metaphase Brothel Graphix fonts by bobistheowl:
LaetitiaBats1
LaetitiaBats2
HaydenPanettiereBats
Alice in Wonderland
Through the Looking Glass1
Through the Looking Glass2
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
This Tarot card deck, known as the 'Rider-Waite-Smith' Tarot, was used to illustrate The Pictorial Key to the Tarot; Being Fragments of a Secret Tradition Under the Veil of Divination by Arthur Edward Waite, with illustrations by Pamela Colman Smith, and first published by The Rider Company in December, 1909.
Mr. Waite's essay can be found online at:
http://altreligion.about.com/library/texts/bl_pictorial.htm
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
Gypsy Tarot-Major Arcana:
The twenty-two cards of the Major Arcana use the alphabet keys from a-v, with card 0, The Fool, as letter v. Each card is inverted for the upper case letters A-V.
Gypsy Tarot-Minor Arcana:
There are fourteen cards in each of the suits, (Cups, Pentacles, Swords, and Wands). The Aces of each suit can be produced using the keys 1-4.
The Cups suit, from 2 through King, is produced using lower case a-m. The Swords suit uses lower case n-z. Upper case A-M makes the Pentacles suit, and Upper case N-Z creates the Wands suit. The same keys are used to produce the inverted images in Gypsy Tarot-Minor Arcana Inverted.
~bobistheowl
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
HaydenPanettiereBats demo � 2007 by bobistheowl for Metaphase Brothel Graphix.
This font is freeware. Please feel free to have fun with it, and use it for any purpose you'd like. The only thing you can't do is claim the work as your own. This font was made with MS Paint and ScanFont 3.12. If you like it, please let me know at [email protected]. A larger version of this font will be completed soon. Look for it where you found this one. For other bobistheowl fonts from Metaphase Brothel Graphix, please visit our homepage on Luc Devroye's site: http://cg.scs.carleton.ca/~luc/bobistheowl.html
New fonts will appear there on a regular basis. If you have a webpage with downloadable fonts, please feel free to include this one, or any of the other bobistheowl fonts, among your available downloads. I would appreciate it if this read me document was included, but the character guide is optional.
Hayden Panettiere is best known as the indestructible cheerleader Claire Bennet on the NBC science fiction drama Heroes. Although just eighteen years old, she has worked consistently in television and feature films since the age of seven, as well as having appeared in numerous commercials since she was eleven months old.
Hayden's first major prime time television exposure was a recurring role as Maddie Harrington on the almost unwatchable final season of Ally McBeal. In addition to two stints on Law & Order: Special Victims Unit, she had four memorable guest starring roles as the scheming Jessica on Malcolm in the Middle. She made several forgettable films for Disney in her early teens, and provided the voice for Princess Dot in the film A Bug's Life.
The original version of HaydenPanettiereBats was my first font, and was a major disappointment to me. There was too much detail to reproduce in glyphs 1.33 inches high. Many of the glyphs were severely distorted, and only a few came out well. The first revision was an improvement, but still not very good. I don't make those early versions of this font available for download anymore, but if you're really interested in the evolution of my creative process from August, 2007 to present, ask me by e-mail, and you can have the original font, version 1.1, or copies of the monochrome bitmaps used for any of the versions to date.
This font included some experimentation with various shades obtained through saving full colour photographs in 16 colour bitmap form, and various techniques to convert them to monochrome bitmaps 2.9 inches high, (280 pixels). This sort of font is very labour intensive, and very frustrating. When creating font glyphs based on photographs, single pixels of black or white can make noticeable differences when imported into a font making program. I spent many hours working on several detailed glyphs with extensive shading, only to find that the memory limits of ScanFont were exceeded. ScanFont likes pure black and white areas, and has a hard time reproducing grey scales created through shaded patterns. each character glyph in this font has an average size of about 43 kb, which is larger than many fonts that have a complete upper and lower case alphabet set. In one of the test versions, a single glyph clocked in at 75 kb!
I've been working on revisions to this font off and on for the past few months, frequently dropping it altogether for a while to work on other projects which have since been completed, or will soon be. It is my intension to also upgrade my second and third fonts, LaetitaBats 1&2, in the near future, with larger sized glyphs. Unfortunately, the size of my font files, (between 1.3 and 2.0 MB on many of them), makes it difficult to find font download sites which will host them, as bandwidth limitations often set a maximum file size limit considerably below that a bobistheowl font, (one site expressed interest in my work, but told me they could not upload archives larger than 200 kb). For the time being, our homepage on Luc's site, and eMule, are the only places where you can find the Metaphase Brothel Graphix' font collection.
Other Fonts by bobistheowl for Metaphase Brothel Graphix:
LaetitiaBats1 & LaetitiaBats2
Alice in Wonderland
Through the Looking Glass1 & Through the Looking Glass2
Gypsy Tarot-Major Arcana
Gypsy Tarot-Minor Arcana & Gypsy Tarot-Minor Arcana Inverted
Apoux
KleinKarpets
Upcoming projects in the works include a series of fonts based on the art of Frank Frazetta, a snakes font, and more KleinKarpets.
Thanks for downloading this. I hope it was worth the bandwidth and disk space.
~bobistheowl
KleinKarpets is � 2007 by bobistheowl for Metaphase Brothel Graphix. If you like this font, please let me know at [email protected]
This font was made using MS Paint and ScanFont 3.12. This is a freeware font. You may use it for any form or purpose. The only restrictions are that you cannot claim ownership or authorship of the font or its' glyphs.
I was working on a different font when a found a picture on Flickr called Glass Snakeskin. I experimented with it as a monochrome image, and was sufficiently intrigued to look for other images that were similar. I didn't use the Glass Snakeskin picture for this font, as it was too similar to the picture used for the Q,R,U and V glyphs. I might use it, if there's a sequel.
The 52 glyphs in this font, (A-Z in upper and lower case), were made from just eight pictures. I used the flip/rotate feature in MS Paint to create either four or eight versions of each glyph, forward, reversed, and perpendicular Each original picture was flipped 90, 180, and 270 degrees, and flipped horizontally, to create mirrored image pairs. If you type the alphabet in Microsoft Word at 36 points, the individual glyphs come together to form larger glyphs composed of either four or eight characters. For the typing sequence to create the larger glyphs at 72 points, use the second character guide with an alphabetical font that has a full upper and lower case character set.
KleinKarpets is named for, and dedicated to, Manfred Klein, whose experiments with three dimensional fonts were my inspiration.
~bobistheowl
The Obey series of fonts are � 2009 by bobistheowl for Metaphase Brothel Graphics. Obey Giant concept and the Obey campaign are � by Shepard Fairey, 1989 - present. All rights reserved.
These fonts are freeware, but if you have any reason to use them commercially, you should get approval from Shepard Fairey at http://obeygiant.com
These fonts were made with MS Paint and ScanFont 3.13. All source graphics were hand drawn or manually traced from images found on the Internet. No pre-existing vectors or scanned images were used. For those who are interested, the original monochrome bitmaps used as source graphics for these fonts are available as a separate download on my homepage, hosted by Luc Devroye:
http://cg.scs.carleton.ca/~luc/bobistheowl.html
Open Type versions of some of these fonts exist. Both the .otf and .ttf versions, (which I consider to be superior to the .otfs), are available on my homepage, but only the .ttf versions will be circulated to other font download sites.
Each font in this series is available with both a lower case and a caps version. Some of my previous fonts were compatible with Windows Vista only when the character set was in capitals. I am hopeful that this new series will work with all operating systems, (they work fine with Windows XP, and my previous, more complex fonts generally worked fine with Mac, Unix, and Linux systems).
If you like these fonts, please let me know in a comment on the site where you downloaded them, or you can reach me by e-mail at [email protected]
Frank Shepard Fairey (born February 15, 1970) is a contemporary artist, graphic designer, and illustrator who emerged from the skateboarding scene. He first became known for his "Andr� the Giant Has a Posse" sticker campaign, in which he appropriated images from the comedic super market tabloid Weekly World News. His work became more widely known in the 2008 U.S. presidential election, specifically his Barack Obama "HOPE" poster. The Institute of Contemporary Art, Boston calls him one of today's best known and most influential street artists. His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York, and the Victoria and Albert Museum in London.
The genesis of the Obey campaign dates back to 1989, when a teenaged Shepard Fairey began to make vinyl skateboard stickers with the image of professional wrestler, Andr� the Giant, accompanied by the slogan "Andr� the Giant has a Posse", as an in-joke directed at hip hop and skater subculture, and then began clandestinely (and somewhat fanatically) propagating and posting them in Providence, Rhode Island and the rest of the Eastern United States.
Threat of a lawsuit from Titan Sports, Inc. in 1994 spurred Fairey to stop using the trademarked name Andr� the Giant, and to create a more iconic image of the wrestler's face, now most often with the equally iconic branding OBEY. The "OBEY" slogan was not only a parody of propaganda, but also a direct homage to the "OBEY" signs found in the 1988 cult classic film, They Live, starring Roddy Piper. About "Obey," San Diego Union-Tribune art critic Robert L. Pincus says Fairey's work, "was a reaction against earlier political art, since it delivered no clear message. Still, �Obey� was suggestively antiauthoritarian." "Following the example set by gallery art, some street art is more about the concept than the art," writes The Walrus (magazine) contributor Nick Mount. �'Fuck Bush' isn�t an aesthetic; it�s an ethic. Shepard Fairey�s Obey Giant stickers and Akay�s Akayism posters are clever children of Duchamp, ironic conceptual art."
sources: http://en.wikipedia.org/wiki/Shepard_Fairey
http://en.wikipedia.org/wiki/Obey_Giant
Fairey's artwork is, for the most part, derivative of other people's work, to the point of being considered plagiarism by many. Fairey himself claims to 'have have had an original idea', but his Obey campaign has proven to be diverse, prolific, and enduring. More recently, Fairey has published a book of his body of work, 'Supply and Demand - The Art of Shepard Fairey 1989 - 2009'.
This special series of fonts celebrates the twentieth anniversary of the Obey street art campaign, 1989-2009.
I had to completely rethink the way I make fonts to do this project. Previously, I had been creating source graphics 2� times as large as the finished glyphs, converting the images to 256 colour bitmaps, reducing the image to 40%, converting to monochrome, then filling in the 'islands' of black and white. This made for fonts with very large file sizes, and images that degraded significantly above 72 point size. The 256 colour transitional stage retained more of the colour source image than if the picture had been converted directly to monochrome, but it also made for fuzzy images, where I often had to guess whether certain pixels should be black or white.
I continued to use this process until about mid-February, 2009, but I was unhappy with the quality of the results, so I decided to edit full colour images directly to monochrome, mostly through manual tracing, but I did adapt many of the images to the extent that the connection between the original source images and the final graphics used for the fonts is not always immediately obvious. I learned a lot of new skills while working on this project, and it would have been completed months ago if I hadn't learned to edit the fonts after importing them into ScanFont, but they are all much the better for my having taken that additional time to do them right.
So, why would I spend a year drawing Obey Giant? Well, first, these pictures were fun to draw. Well, they weren't so fun when I was spending more than ten hours working on a single glyph, but they were very satisfying when completed. I always strive to make the most complex fonts possible, and these were certainly a challenge. I learned much about the technical aspects of font making, something completely lacking in my previous fonts, and this project allowed me to try a number of experiments, all within a common concept. I hope you like them as much as I do.
~bobistheowl
List of fonts in the Obey Series:
Obey3D
Obey3DAlt
ObeyAssorty
ObeyBalloon
ObeyBalloon2
ObeyDada
ObeyEssence
ObeyFaves
ObeyFunhouse
ObeyGalleria
ObeyGiantPoster
ObeyGiantPosterCondensed
ObeyPatterns
ObeyPears
ObeyPotpourri
ObeyPuzzle
ObeyRevolution
ObeyRockers
ObeyRorschach
ObeysTile
ObeyTown
ObeyTownAlt
ObeyTyrant
ObeyVenice
ObeyWrappers
ObeyXL1
ObeyXL2
Individual font notes:
Obey3D: The A, B, and J glyphs were among the last few graphics I completed. The J is probably my personal favorite in the series. Originally I had planned to do a mirror image of the S glyph, but that one took too long to edit after being imported into the font, so I used something else instead for Obey3DAlt.
Obey3DAlt: This is mostly mirror images from the Obey3D font, with a few unique glyphs. The two halves of the A are combined differently.
ObeyAssorty: This was the last font completed. It contains glyphs left over from other fonts, as well as the last few glyphs completed, other than the ones used in Obey3D and ObeyRockers.
ObeyBalloon & ObeyBalloon2: These were completed in August, 2009, around the same time as ObeyGianPoster and ObeyGiantPosterCondensed. The Giant face was cut into six sections, and stretched horizontally at different percentages, then recombined. There are only twenty-four glyphs in ObeyBalloon because the Y and Z were too wide for Open Type, but they could be produced in .ttf.
ObeyDada: Like ObeyBalloon, ObeyBalloon2, and ObeyFunhouse, I split the Giant face into different sections, (this time using half of the face, split into six sections, three each for the top and bottom). This font was completed in one take, with no revisions. As with ObeyFunhouse, the original graphics for this font are quite rough, compared to most of the other fonts in the series. They were edited within ScanFont instead, mostly by deleting superfluous vector nodes to smooth the lines.
ObeyEssence: This was the penultimate font, followed only by ObeyAssorty. I drew the last three of the devolving Giant faces.
ObeyFaves: This is the sampler font. All of the glyphs in this one also appear in other fonts. I did endless revisions on this font, mostly for the U glyph, with all the tiny lettering. That one was a major challenge to homogenize the lettering for the four lines of text. ObeyFaves was one of the early fonts, and all of the completed glyphs were later copy/pasted into other fonts in the series.
ObeyFunhouse: These were experiments with stretching and skewing, to produce 'Hall of Mirrors" type results.
ObeyGalleria: Many of the best 'miniprints' appear in ObeyGalleria. The Peace Goddess, (glyphs D-G), is almost symmetrical, so I made three additional variations, combining the left and right sides of the image with a mirror copy, and also flipping the original horizontally for the G. Many of the glyphs in ObeyGalleria also appear in an enlarged version in ObeyXL1 and ObeyXL2.
ObeyGiantPoster: This was the first font completed. I attempted to do some minor editing on this font in December, (to smooth the inside of a couple of Os), but this shrunk the size of some of the other glyphs for some reason, so I left it as is.
ObeyGiantPosterCondensed: This is ObeyGiantPoster with each glyph condenced horizontally to 50%.
ObeyPatterns: A few of the colour inverted glyphs were created by changing the monochrome bitmap of the original glyph back to 24 bit, then I inverted the colours of the center, then I inverted the colours of the glyph. I usually use red and light blue when doing this, as they are complementary colours for each other in MS Paint.
ObeyPears: The glyph used for B and C is the original size for this version of the Obey logo. I later expanded it for the versions that appear in ObeyGalleria and the two ObeyXL fonts. The E is copied from ObeyFaves. I didn't want to spend a couple of extra days doing the same revisons to the F glyph. It can be created by changing the foreground and background colours of the E glyph. Much time was spent doing the leaves for the U and V glyphs. A larger and better version of the V glyph can be found in ObeyXL2, (G). I drew the Y and Z glyphs. I'm lefthanded, so this was about as well as I could draw the Giant with my right hand, but I think they look fairly convincing as fake kids' drawings.
ObeyPotpourri: This font contains leftovers from other fonts, mostly from when I had more than twenty-six graphics for a specific theme. The rest of the extras ended up in ObeyAssorty.
ObeyPuzzle: This font works best at 48 points. I had originally planed to fill the remaining eight letter spots, (S-Z), with two smaller 2x2 puzzles, but I decided to do ObeyXL1 and ObeyXL2 instead.
ObeyRevolution: Most of the politically themed glyphs appear in this font, or in ObeyTyrant. In November, 2008, when Barack Obama was elected President of the United States, Luc Devroye suggested that I make a politically themed font. I did the single glyphed Obamaglyph font the next night. That got me thinking about making new fonts with more detail to the source graphics. I had downloaded a number of Obey Giant graphics some months previously, but I hadn't done anything with them yet. This got me started on this project, which has taken more than a year to complete, although, in fairness, I don't think any graphics completed before mid-February 2009 made it into the final fonts. Some of those early graphics were re-edited significantly, but most were completely redrawn, from scratch.
ObeyRockers: This was the first font where I did significant editing to the glyphs after they were imported into ScanFont. After seeing the results, I went back and re-edited all of the fonts I had completed to that point, except for the two ObeyBalloon fonts and the two ObeyGiantPoster fonts. It took about five weeks to make those revisions, but all of the fonts are much better, as a result. There were several last minute additions to this font. The A, H, M, O, W, X and Y were all made after the original test version, mostly replacing mirror images of other glyphs in this font. The A was the first glyph in the series that was edited significantly within the font program. I wanted the wording on the guitar to be legible at 72 points, and that's when I started to modify vector nodes.
ObeyRorschach: This is probably the weakest font in the series, but it has some interesting glyphs.
ObeysTile: This is one of the four fonts I completed on December 10, (All but six of the glyphs in the previous font, ObeyWrappers, had been completed the previous day), and I hadn't intended to do this one, but the source graphics for the last five glyphs required almost no editing at all. Other than rounding the mustache points, there was little that needed to be done on most of these. The ones where the chins met for regular and colour inverted faces took a bit of extra time, but there weren't many of those.
ObeyTown: This is one of the earlier fonts in the series. As in ObeyTownAlt, Obey3D, and Obey3DAlt, I did a lot of experimenting with perspective. I really enjoyed calculating the line slopes in several of these. The W is one of my favorites in this series, but I think it is both too wide and too complex to have been used in ObeyFaves, making an Open Type version of that font impossible.
ObeyTownAlt: This is mostly horizontally flipped versions of glyphs from ObeyTown, with a few unique glyphs.
ObeyTyrant: This is the second political font, and companion to ObeyRevolution. A few of the very early glyphs, (prior to mid-February), appear in this font, but they were extensively re-edited before I made the font.
ObeyVenice: There is only one glyph in this font, but it tiles beautifully at 48 points. The Obey Venice Pattern print is new at obeygiant.com. The source graphic has unique dimensions, (403 x 403 pixels), and it would have suffered in quality if I had reduced it to 70%, (then there would have been about a day of editing), which is why it's in a font by itself.
I took the image from the website, trimmed the yellowish border, and converted it to monochrome. It only took about five minutes to touch up the corners, and I was very pleased that there were no gaps between glyphs when it was tiled at 48 points, (the glyph is too large to tile at 72 points in most applications). I did this one between ObeyWrappers and ObeysTile.
ObeyWrappers: With the exception of the B, this font tiles really well at 48 points. A gap appears half way through the lettering of the B at 48 points, but not at 72 points, while gaps appear in the tiled A glyph at 72 points, but not at 48. This was an exersize in making glyphs that look totally different when tiled, so it's both a technical and an artistic font.
Originally there were to be eight glyphs with the four Obey stars on the black background, (used for S,T, and U). but these took about ninety minutes each to fully edit, so I substituted some glyphs similar to those used in ObeysTile to fill out the character set. The minimal time needed to edit these substitute glyphs led to my decision to make the ObeysTile font, which was completed in full in about an hour and a half.
ObeyXL1 and ObeyXL2: After seeing that the file sizes of the earlier fonts were relatively small, (by my standards), I decided to see if I could make the graphics larger, and still remain within the memory limits of ScanFont. I decided to leave ObeyPuzzle at eighteen glyphs, and to do two extra large fonts instead.
I created the source graphics for the XL fonts by stretching the original source images by 200% horizontally and vertically. Most of the larger source graphics were extensively re-edited, but a few were edited entirely within ScanFont. I later found a larger image of the Peace Goddess, (K in ObeyXL1), and I redrew the Giant star from the headpiece, and copy/pasted it into the previously completed graphic. The Y in ObeyXL2 does not appear in a smaller form in any of the other fonts.
The Obey series of fonts are � 2009 by bobistheowl for Metaphase Brothel Graphics. Obey Giant concept and the Obey campaign are � by Shepard Fairey, 1989 - present. All rights reserved.
These fonts are freeware, but if you have any reason to use them commercially, you should get approval from Shepard Fairey at http://obeygiant.com
These fonts were made with MS Paint and ScanFont 3.13. All source graphics were hand drawn or manually traced from images found on the Internet. No pre-existing vectors or scanned images were used. For those who are interested, the original monochrome bitmaps used as source graphics for these fonts are available as a separate download on my homepage, hosted by Luc Devroye:
http://cg.scs.carleton.ca/~luc/bobistheowl.html
Open Type versions of some of these fonts exist. Both the .otf and .ttf versions, (which I consider to be superior to the .otfs), are available on my homepage, but only the .ttf versions will be circulated to other font download sites.
Each font in this series is available with both a lower case and a caps version. Some of my previous fonts were compatible with Windows Vista only when the character set was in capitals. I am hopeful that this new series will work with all operating systems, (they work fine with Windows XP, and my previous, more complex fonts generally worked fine with Mac, Unix, and Linux systems).
If you like these fonts, please let me know in a comment on the site where you downloaded them, or you can reach me by e-mail at [email protected]
Frank Shepard Fairey (born February 15, 1970) is a contemporary artist, graphic designer, and illustrator who emerged from the skateboarding scene. He first became known for his "Andr� the Giant Has a Posse" sticker campaign, in which he appropriated images from the comedic super market tabloid Weekly World News. His work became more widely known in the 2008 U.S. presidential election, specifically his Barack Obama "HOPE" poster. The Institute of Contemporary Art, Boston calls him one of today's best known and most influential street artists. His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York, and the Victoria and Albert Museum in London.
The genesis of the Obey campaign dates back to 1989, when a teenaged Shepard Fairey began to make vinyl skateboard stickers with the image of professional wrestler, Andr� the Giant, accompanied by the slogan "Andr� the Giant has a Posse", as an in-joke directed at hip hop and skater subculture, and then began clandestinely (and somewhat fanatically) propagating and posting them in Providence, Rhode Island and the rest of the Eastern United States.
Threat of a lawsuit from Titan Sports, Inc. in 1994 spurred Fairey to stop using the trademarked name Andr� the Giant, and to create a more iconic image of the wrestler's face, now most often with the equally iconic branding OBEY. The "OBEY" slogan was not only a parody of propaganda, but also a direct homage to the "OBEY" signs found in the 1988 cult classic film, They Live, starring Roddy Piper. About "Obey," San Diego Union-Tribune art critic Robert L. Pincus says Fairey's work, "was a reaction against earlier political art, since it delivered no clear message. Still, �Obey� was suggestively antiauthoritarian." "Following the example set by gallery art, some street art is more about the concept than the art," writes The Walrus (magazine) contributor Nick Mount. �'Fuck Bush' isn�t an aesthetic; it�s an ethic. Shepard Fairey�s Obey Giant stickers and Akay�s Akayism posters are clever children of Duchamp, ironic conceptual art."
sources: http://en.wikipedia.org/wiki/Shepard_Fairey
http://en.wikipedia.org/wiki/Obey_Giant
Fairey's artwork is, for the most part, derivative of other people's work, to the point of being considered plagiarism by many. Fairey himself claims to 'have have had an original idea', but his Obey campaign has proven to be diverse, prolific, and enduring. More recently, Fairey has published a book of his body of work, 'Supply and Demand - The Art of Shepard Fairey 1989 - 2009'.
This special series of fonts celebrates the twentieth anniversary of the Obey street art campaign, 1989-2009.
I had to completely rethink the way I make fonts to do this project. Previously, I had been creating source graphics 2� times as large as the finished glyphs, converting the images to 256 colour bitmaps, reducing the image to 40%, converting to monochrome, then filling in the 'islands' of black and white. This made for fonts with very large file sizes, and images that degraded significantly above 72 point size. The 256 colour transitional stage retained more of the colour source image than if the picture had been converted directly to monochrome, but it also made for fuzzy images, where I often had to guess whether certain pixels should be black or white.
I continued to use this process until about mid-February, 2009, but I was unhappy with the quality of the results, so I decided to edit full colour images directly to monochrome, mostly through manual tracing, but I did adapt many of the images to the extent that the connection between the original source images and the final graphics used for the fonts is not always immediately obvious. I learned a lot of new skills while working on this project, and it would have been completed months ago if I hadn't learned to edit the fonts after importing them into ScanFont, but they are all much the better for my having taken that additional time to do them right.
So, why would I spend a year drawing Obey Giant? Well, first, these pictures were fun to draw. Well, they weren't so fun when I was spending more than ten hours working on a single glyph, but they were very satisfying when completed. I always strive to make the most complex fonts possible, and these were certainly a challenge. I learned much about the technical aspects of font making, something completely lacking in my previous fonts, and this project allowed me to try a number of experiments, all within a common concept. I hope you like them as much as I do.
~bobistheowl
List of fonts in the Obey Series:
Obey3D
Obey3DAlt
ObeyAssorty
ObeyBalloon
ObeyBalloon2
ObeyDada
ObeyEssence
ObeyFaves
ObeyFunhouse
ObeyGalleria
ObeyGiantPoster
ObeyGiantPosterCondensed
ObeyPatterns
ObeyPears
ObeyPotpourri
ObeyPuzzle
ObeyRevolution
ObeyRockers
ObeyRorschach
ObeysTile
ObeyTown
ObeyTownAlt
ObeyTyrant
ObeyVenice
ObeyWrappers
ObeyXL1
ObeyXL2
Individual font notes:
Obey3D: The A, B, and J glyphs were among the last few graphics I completed. The J is probably my personal favorite in the series. Originally I had planned to do a mirror image of the S glyph, but that one took too long to edit after being imported into the font, so I used something else instead for Obey3DAlt.
Obey3DAlt: This is mostly mirror images from the Obey3D font, with a few unique glyphs. The two halves of the A are combined differently.
ObeyAssorty: This was the last font completed. It contains glyphs left over from other fonts, as well as the last few glyphs completed, other than the ones used in Obey3D and ObeyRockers.
ObeyBalloon & ObeyBalloon2: These were completed in August, 2009, around the same time as ObeyGianPoster and ObeyGiantPosterCondensed. The Giant face was cut into six sections, and stretched horizontally at different percentages, then recombined. There are only twenty-four glyphs in ObeyBalloon because the Y and Z were too wide for Open Type, but they could be produced in .ttf.
ObeyDada: Like ObeyBalloon, ObeyBalloon2, and ObeyFunhouse, I split the Giant face into different sections, (this time using half of the face, split into six sections, three each for the top and bottom). This font was completed in one take, with no revisions. As with ObeyFunhouse, the original graphics for this font are quite rough, compared to most of the other fonts in the series. They were edited within ScanFont instead, mostly by deleting superfluous vector nodes to smooth the lines.
ObeyEssence: This was the penultimate font, followed only by ObeyAssorty. I drew the last three of the devolving Giant faces.
ObeyFaves: This is the sampler font. All of the glyphs in this one also appear in other fonts. I did endless revisions on this font, mostly for the U glyph, with all the tiny lettering. That one was a major challenge to homogenize the lettering for the four lines of text. ObeyFaves was one of the early fonts, and all of the completed glyphs were later copy/pasted into other fonts in the series.
ObeyFunhouse: These were experiments with stretching and skewing, to produce 'Hall of Mirrors" type results.
ObeyGalleria: Many of the best 'miniprints' appear in ObeyGalleria. The Peace Goddess, (glyphs D-G), is almost symmetrical, so I made three additional variations, combining the left and right sides of the image with a mirror copy, and also flipping the original horizontally for the G. Many of the glyphs in ObeyGalleria also appear in an enlarged version in ObeyXL1 and ObeyXL2.
ObeyGiantPoster: This was the first font completed. I attempted to do some minor editing on this font in December, (to smooth the inside of a couple of Os), but this shrunk the size of some of the other glyphs for some reason, so I left it as is.
ObeyGiantPosterCondensed: This is ObeyGiantPoster with each glyph condenced horizontally to 50%.
ObeyPatterns: A few of the colour inverted glyphs were created by changing the monochrome bitmap of the original glyph back to 24 bit, then I inverted the colours of the center, then I inverted the colours of the glyph. I usually use red and light blue when doing this, as they are complementary colours for each other in MS Paint.
ObeyPears: The glyph used for B and C is the original size for this version of the Obey logo. I later expanded it for the versions that appear in ObeyGalleria and the two ObeyXL fonts. The E is copied from ObeyFaves. I didn't want to spend a couple of extra days doing the same revisons to the F glyph. It can be created by changing the foreground and background colours of the E glyph. Much time was spent doing the leaves for the U and V glyphs. A larger and better version of the V glyph can be found in ObeyXL2, (G). I drew the Y and Z glyphs. I'm lefthanded, so this was about as well as I could draw the Giant with my right hand, but I think they look fairly convincing as fake kids' drawings.
ObeyPotpourri: This font contains leftovers from other fonts, mostly from when I had more than twenty-six graphics for a specific theme. The rest of the extras ended up in ObeyAssorty.
ObeyPuzzle: This font works best at 48 points. I had originally planed to fill the remaining eight letter spots, (S-Z), with two smaller 2x2 puzzles, but I decided to do ObeyXL1 and ObeyXL2 instead.
ObeyRevolution: Most of the politically themed glyphs appear in this font, or in ObeyTyrant. In November, 2008, when Barack Obama was elected President of the United States, Luc Devroye suggested that I make a politically themed font. I did the single glyphed Obamaglyph font the next night. That got me thinking about making new fonts with more detail to the source graphics. I had downloaded a number of Obey Giant graphics some months previously, but I hadn't done anything with them yet. This got me started on this project, which has taken more than a year to complete, although, in fairness, I don't think any graphics completed before mid-February 2009 made it into the final fonts. Some of those early graphics were re-edited significantly, but most were completely redrawn, from scratch.
ObeyRockers: This was the first font where I did significant editing to the glyphs after they were imported into ScanFont. After seeing the results, I went back and re-edited all of the fonts I had completed to that point, except for the two ObeyBalloon fonts and the two ObeyGiantPoster fonts. It took about five weeks to make those revisions, but all of the fonts are much better, as a result. There were several last minute additions to this font. The A, H, M, O, W, X and Y were all made after the original test version, mostly replacing mirror images of other glyphs in this font. The A was the first glyph in the series that was edited significantly within the font program. I wanted the wording on the guitar to be legible at 72 points, and that's when I started to modify vector nodes.
ObeyRorschach: This is probably the weakest font in the series, but it has some interesting glyphs.
ObeysTile: This is one of the four fonts I completed on December 10, (All but six of the glyphs in the previous font, ObeyWrappers, had been completed the previous day), and I hadn't intended to do this one, but the source graphics for the last five glyphs required almost no editing at all. Other than rounding the mustache points, there was little that needed to be done on most of these. The ones where the chins met for regular and colour inverted faces took a bit of extra time, but there weren't many of those.
ObeyTown: This is one of the earlier fonts in the series. As in ObeyTownAlt, Obey3D, and Obey3DAlt, I did a lot of experimenting with perspective. I really enjoyed calculating the line slopes in several of these. The W is one of my favorites in this series, but I think it is both too wide and too complex to have been used in ObeyFaves, making an Open Type version of that font impossible.
ObeyTownAlt: This is mostly horizontally flipped versions of glyphs from ObeyTown, with a few unique glyphs.
ObeyTyrant: This is the second political font, and companion to ObeyRevolution. A few of the very early glyphs, (prior to mid-February), appear in this font, but they were extensively re-edited before I made the font.
ObeyVenice: There is only one glyph in this font, but it tiles beautifully at 48 points. The Obey Venice Pattern print is new at obeygiant.com. The source graphic has unique dimensions, (403 x 403 pixels), and it would have suffered in quality if I had reduced it to 70%, (then there would have been about a day of editing), which is why it's in a font by itself.
I took the image from the website, trimmed the yellowish border, and converted it to monochrome. It only took about five minutes to touch up the corners, and I was very pleased that there were no gaps between glyphs when it was tiled at 48 points, (the glyph is too large to tile at 72 points in most applications). I did this one between ObeyWrappers and ObeysTile.
ObeyWrappers: With the exception of the B, this font tiles really well at 48 points. A gap appears half way through the lettering of the B at 48 points, but not at 72 points, while gaps appear in the tiled A glyph at 72 points, but not at 48. This was an exersize in making glyphs that look totally different when tiled, so it's both a technical and an artistic font.
Originally there were to be eight glyphs with the four Obey stars on the black background, (used for S,T, and U). but these took about ninety minutes each to fully edit, so I substituted some glyphs similar to those used in ObeysTile to fill out the character set. The minimal time needed to edit these substitute glyphs led to my decision to make the ObeysTile font, which was completed in full in about an hour and a half.
ObeyXL1 and ObeyXL2: After seeing that the file sizes of the earlier fonts were relatively small, (by my standards), I decided to see if I could make the graphics larger, and still remain within the memory limits of ScanFont. I decided to leave ObeyPuzzle at eighteen glyphs, and to do two extra large fonts instead.
I created the source graphics for the XL fonts by stretching the original source images by 200% horizontally and vertically. Most of the larger source graphics were extensively re-edited, but a few were edited entirely within ScanFont. I later found a larger image of the Peace Goddess, (K in ObeyXL1), and I redrew the Giant star from the headpiece, and copy/pasted it into the previously completed graphic. The Y in ObeyXL2 does not appear in a smaller form in any of the other fonts.
Sir John Tenniel's Through the Looking Glass1 and Through the Looking Glass2 were fonted by bobistheowl for Metaphase Brothel Graphix, October, 2007.
Lewis Carroll's Through the Looking Glass, and What Alice Found There, was published in December, 1871, but dated 1872. This sequel to Carroll's Alice's Adventures in Wonderland, (1865), was again illustrated by Sir John Tenniel, (1820-1914).
The images used in these fonts are in the Public Domain. These fonts are freeware. You may do anything you want with them, except claim the fonting as your own work.
Through the Looking Glass1 and Through the Looking Glass2 were created using MS Paint and ScanFont 3.13.
Through the Looking Glass1 and Through the Looking Glass2 are my eighth and ninth fonts. Each font contains 27 character glyphs, covering the lower case alphabet from a-z, and the period.
In Through the Looking Glass1, the period glyph is an 1884 self-portrait by Tenniel. In Through the Looking Glass2, the period is a detail of Alice from the Jabberwock glyph, (the h glyph from Through the Looking Glass1).
There are 50 illustrations in Through the Looking Glass, and What Alice Found There. Two additional font glyphs were created as details from the Alice and Humpty Dumpty illustration, (the c glyph in Through the Looking Glass2), to fill the lower case alphabet range. These two details have been placed as the y and z glyphs in Through the Looking Glass2.
All original images used were 280 pixels in height, (about 2.92 inches, or 7.4 centimeters), with variable widths of 280 pixels or less. The images were saved as monochrome bitmaps, then re-encoded in TIFF format before imported them into the font.
If you like this font, please let me know. If you make any cool documents with it, please consider sending me a copy, or the url where your work is located, at: [email protected]. If requested, you will be added to the e-mailing list for future Metaphase Brothel Graphix font releases.
Other fonts by bobistheowl for Metaphase Brothel Graphix:
HaydenPanettiereBats
LaetitiaBats1
LaetitiaBats2
Gypsy Tarot-Major Arcana
Gypsy Tarot-Minor Arcana
Gypsy Tarot-Minor Arcana Inverted
Alice in Wonderland
~bobistheowl
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