Yay now you can type superscript numbers on a conputer!1!!

(Only works with a USA keyboard

Inspired by font called 7 Segment Ragebait

Hweif. Based off of this font by theengineercyborg.

Joke font, don't take it seriously

Was originally going to be named "The Universal Engineer (thwiak_tzlud)".

The joke here is that there are genuinely like 50 fontstructions with swear words in their name

Font for @theengineercyborg because he truly is (iNcLuDiNg bUt nOt lImItEd tO); a library, a deleter, an engineer, a cyborg, an iPad kid, a SOS sign, a contract from One herself, a genius, MANY MORE BECAUSE WHY NOT.

trust me, I'm not mentally insane :D

Idk what to add on this

Different 5 seg display for numbers and letters

Hweif booster seat. 237th (or 244th) ainjoo and counting.

Light Calculator

1st. Convert the Whateveryacallit to a Meter

2nd. Divide by 299,792,458

Example: 1/299,792,458 ≈ 0.000000003335641 seconds

Update 2026: 4 now looks less like a 9.

five

Glyphs

Inspired by early FontStructions, Taiwanese architecture, and the works of Xiaoyuan Gao

Who needs refined curves, anyway?

Rushed number set because last hour upload

This is a number font for 7-segment LCDs. The alphabet is not complete.

In the font preview window above, click Pixel and then Shift+Pixel 4 times to see the full effect of the font.

I remember from back when I was learning Japanese, that the stroke order in writing hiragana, katakana, and kanji was important. I didn't get very far in my Japanese studies, but even then some of the kanji were like 17 strokes each, and each with a specific order of marking the strokes. Thinking of what would be appropriate for a number competition, I recalled the number and order of strokes per glyph idea. Hence, this font. 

The idea brought with it an inherent textfont sensibility. Deciding on the slope of the diagonal strokes was tricky as they rendered those letter either too wide or too narrow. The correct choice was a slope with a flat top or bottom. That allowed the width of the letter whatever I wanted but the flat top took away from the natural marking of the stroke, as in: no one actually writes an A with a horizontal top stroke. Settled on the current slope and width. Still, the letters came together fairly quickly; the kerning not so much. Whether they were adjusted or not, around 10,000 kerning pairs were checked. More than 2500 kerning pairs are included here...and many more still remain. How good or consistent the kerning is is for other's to judge.

Some of the glyphs are quirky, I know. There are already hundreds of thousands of exceptional standard text fonts. No point redoing those. 

Due to the need to show the strokes individually, the font came out as stencil. That was an unintentional byproduct of the idea.

Some strokes are split in two to show distinction between the crossing strokes, but technically they would be continuous. 

The strokes are based on my own handwriting style; others may do it differently. For example, when being careful, I write the Z in three strokes, whereas I suspect others probably write it in one. 

This is not a color font even though it is auto-charcterized as one because at one point I experimented with making the stroke-order numbers gray. I thought about copy-pasting the glyphs in a new FS, but the follow-up thought of having to redo the kerning quickly put a stop to that madness.

For best view of the font, download & install and check out some long block of text in Word with kerning turned on. (This articles explains how to activate kerning in Word.)

a sneaky little deco font with numbers hidden throughout~

(almost forgot to publish)

A nonogram font. Some variation between uppercase/lowercase letters, alternative 2/7 on < >, and an extra Y on ^. I originally made this in a 5x5 grid, but there were too many glyphs with multiple solutions, so I had to remake the whole thing. (You can still see the original style in the small numbers)

Alternates: A , Q , R , S , W

Part of the Stu font family, Stu Hi utilises flair/swash-like ascenders to extend characters upwards. The character glyphs can be used interchangeably between the various Stu styles to achieve a more "bouncy" typesetting effect.

Stu pays homage to oldstyle numerals, where type designers vary the heights of numbers to resemble a line of running lowercase text. It seeks to address the question: "What if every lowercase alphabet also had varying heights?" The result is a font family with full-fledged ascenders ('Hi'), strictly x-heights ('Mid'), and only descenders ('Lo').

You can view the documentation of the Stu font family design here.