It's Summertime! You know what that means: no school and more time to work on stuff I love to do, like this! Just found out about this new feature and decided to make a quick font out of it!
Themysciran. Home of Amazonian Princess Diana, aka Wonder Woman. Of course it’s the opening day of the movie about her origin story. Gal Gadot makes the worthiest successor to the TV version with Lynda Carter since 1979. This font is based off of the Wonder Woman logo from DC Comics.
Eclectic old-fashioned font with short ascenders and single-width proportions.
Rossica (Vera Evstafeva)
http://typejournal.ru/en/articles/Civil-TypeThis is a clone of Chrysalide Modern
This font is based off the "ABC Sunday Night Movie" title from the 1970's, as well as WPIX-TV New York's movie titles from the 1970's.
A lot has happened since I opened this account. Six birthdays, a life-changing diagnosis, other pivotal life events. Well, this may very well be my last post on here. With the start of a new chapter in life - getting a job, starting a business, volunteering, schoolwork, etc. - I've no more time to really work on these like I used to when I was, say, eleven. I hope y'all understand and I wish y'all the best. Thanks ~
A typeface inspired by American typefaces from the 1800s and the Art Deco-styled coffee shop I visit often in Des Moines, Iowa.
Combining a slab-serif, expanded typeface with ornate detailing brought challenging consideration to the legibility of the font. It’s used best for short, bold messages or an energetic initial cap.
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...