While waiting at a doctor's office, absentmindedly drawing letters on my knee with a new pen in my hand, I realized after I while that I was doodling the glyphs of fs_penmanship, although with curved ends. Which got me thinking that it just might be possible with the new and improved HTML fontstructor.
This is the second version of that idea. The first version had too many compromises in lining up the stacked and nudged bricks. Be that as it may, the new fontstuctor has grown up so much and although quite recognizable compared to the original, but level 1000 in possibilities, all hidden behind a simple interface. Brilliant.
PS, Rob: I found two things that need further updating: 1. Because of the way 4×4 stacks work, nudges need to be in increments of 8th as opposed to the 4th that is currently the case, otherwise, some of the bricks just don't line up. 2. Bricks should be rotatable from the center of the grid box in increments of 15° (or at least 45°).This is a clone
here's another art deco-inspired dot font. started with the lc then slowly built out the basic set. i was going to use the lc for uc as well, then started playing some more :) so here you have follies. i think the name fits since this is a playful set. and it's 2-in-1 - serif and sans serif all in one! and having a good time...at their own folly ;~This is a clone
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...
Blackletter, as small as possible, as elegant as possible.
Fun fact: The name Minotur came from the shortening of "minimal textur".
it's a dotty deco. the name is a play on zoot suit. i did the uc and was satisfied that it worked as a display font. i had a bunch of lc dot fonts in the trunk and decided to pair up a few to see how they looked together. all share the same uc. that's the zoot suite.
Apparently, it is quite easy to forget what gets a fontstruction going. Something about ultra condensed bla bla bla. The rest is just a matter of having a creative activity to occupy the mind. And if in the process you can help out a friend, all the better.