A wicked track-looking font with every letter at least has a 180-degree-flip pair. Perfect for ambigram.
" ( " for left line cap
" ) " for right line cap
"space" for extending the lineThis is a clone
This typeface was concevied two years ago and later shelved. Thought that it was still worth finishing so here it is. It's another take on the square dot matrix style that I did with the MinSha typeface back in 2010.
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!
Monospaced typeface based on Otonokizaka Std II (https://fontstruct.com/fontstructions/show/1399114/otonokizaka-std-ii), which in turn is based on the Love Live! logo subtitle, with slight changes making some characters more legible at small sizes. Can be used as a high-DPI code editor font.
EDIT 6th May: Added most of Latin-1 Supplement. A boldface version is now also available (https://fontstruct.com/fontstructions/show/1401380/otonokizaka-std-ii-1-3).This is a clone of Otonokizaka Std II
Capital letters here: https://fontstruct.com/fontstructions/show/1356385/fs-pixel-multilingual-1
http://velvetyne.fr/fonts/terminal-grotesque/This is a clone of fs conscript_02
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.
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...
UPDATE 07 Oct 17: In February something happened to the font, re-arranging every single brick to somewhere else. I just now got around to fixing it.
Parentheses can be used as caps for the beginnings and ends of sentences.