Granenyi Stakan!

Work in progress. 19th-century stylistic set for New Dot Sans.

See more:

LilienthalGrotesk 

http://vdnh.ru/en/

https://daily.afisha.ru/archive/gorod/changes/oni-teplye-i-nezlye-dizaynery-masterskoy-barbanelya-o-novyh-simvolah-vdnh/

http://vllg.com/klim/founders-grotesk#panel=poster

Helvetica World

http://www.dafont.com/k22-spotty-face.font

See more:

https://fontstruct.com/fontstructions/show/685591/advancer_lite_1

https://www.behance.net/gallery/27010917/Pobeda

Old font tastes like modern. Stylistic set for Chrysalide Serif Modern.

WORK IN PROGRESS.

See more:

Rossica

https://www.myfonts.com/fonts/wiescherdesign/royal-romain/

https://www.myfonts.com/fonts/paratype/kis-bt/

https://www.myfonts.com/fonts/paratype/academy/

https://www.myfonts.com/foundry/ABSTRKT/

http://typefaces.temporarystate.net/preview/Manege

http://rastvor.com.ua/a-tsarpeter.htm

http://www.myfonts.com/fonts/atelier-laia/waskonia/

https://www.myfonts.com/fonts/tilde/belwe/

To read: 

https://pt.slideshare.net/guest7a8aa4/cyrilliclatin-yesterdaynow

http://typejournal.ru/en/articles/Civil-Type

While suffering some serious fonter's block, here's another "wonky" experiment: this time, based on my "21st Century Dot Matrix" font.  Random numbers were used to determine each dot's nudged position for the vertical (–½ / –¼ / 0 / +¼ / +½), and another set of random numbers for the horizontal.  Each position had an equal 20% chance of placement.

On the previous "wonky" font ("Wonky Pins"), I adjusted some dots manually to be more visually pleasing, but I refrained from doing that here.  Because so many dots were nudged to extreme positions (–½ & +½ vertically and horizontally) WITHOUT further adjustment, the printed text is still legible but definitely not as refined at "Wonky Pins"...

This typeface was also based on 2 sets of dots this time: one randomized set for an even number of dots across a row (6 or 8), and the other set for an odd number of dots (7).  Sometimes, even dots and odd dots are used together on the same row in order to match the placement in the original design.  These blocks are present in the "À" position.  A slightly larger generic block in position "Á" is only present to prevent word processors from 'cutting off' dots nudged too far vertically up or down; initial test printings resulted in ½ dots being printed at those extremes.

Perhaps another "wonky" experiment will place the extreme ends at a lower chance of occurance (perhaps 10%) while the other three (–¼ / 0 / +¼) more at likely at 26.67% each.  Or perhaps an even higher chance that the dot is not even nudged at all, with lower likelihoods as you move outwards to the extremes.  This might alleviate the need for any manual adjustments, yet still get the point across that something... something has gone wonky with the printer...

Dot-line thin font. Inspired by Stag Dot.

Modern font tastes like old.

See more: https://fontstruct.com/fontstructions/show/749833/fs_dot_serif

invers ti-80 calculator dsisplay

This is a thick dot-matrix version of a very popular classic computer, and it's normally used on word processors, electric billboards, etc.  Probably a great font!

Bumbu kacang is the actual name of Indonesian Salad’s (also known as gado-gado) peanut sauce. The round shape of the typeface inspired by the shape of lontong. The curvy part in the middle and the dots represent the peanut sauce.

A little experiment - squares with rounded corners.  The resulting design is a 5×7 dot matrix font with an (unintentional) art deco sensibility.

Inspired by a technique used by 12Me21 in 3D Shading.

Hand drawn anti-aliased dot patterns.