An inspired font in it's ugly adolescence hoping to be so much more.

Not sure what to say about this one.

One day I'm going to add all the missing letters…

A bold headline typeface.

Look also at Cilimjo as the bold and decorative variant of this font.

Yet another dot matrix typeface for a printer that never existed...

Designed ages ago on MS Paint, this plain font taught me how to be a junior brick jigger.

Everything other than the capitals was an afterthought.

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).

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...

A set of castle doors or tall windows. Inspired by wrought iron work.

A stout, slab serif, large countered, heavy sided, pixel font.

2Legs Before Wicket ... this was inspired by one of the spellbinding cricket matches this summer.

My take on the Mongolian 'Phags-pa script designed by the Tibetan monk Phagspa in 1269, based on the Tibetan script, to write Mongolian, Tibetan, Sanskrit and Chinese. This font is based on the Tibetan style which consists almost entirely of straight lines and right angles. It seemed like a prime candidate for a FontStruct treatment. I've added rounded corners and serifs to make it more visually interesting.

The script is written in vertical columns top-to-bottom and left-to-right and thus needs to be rotated 90° clockwise and the columns then reversed.

'Phags-pa was added to the Unicode standard in version 5.0 in 2006. This font however uses an ad-hoc mapping to Ascii characters which admittedly doesn't always make sense. I kind of gave up in the end and started assigning a bunch of letters to digits. Letters are connected into syllable block by a thin line (mapped to '-'), usually on the right-hand side. A straight line clashed wth the serifs so I made it into a small arch.

The script is an abugida: the vowel ‹a› is inherent in each syllable and thus not written.

I expanded on my previous font, relaxing the rules on placement of segments.  I was then able to add uppercase letters, and enhanced the lower case letters where it was needed.  Still a WIP - converting the accents.

An embossed typeface with angular shape for lowercase and numerals, some 45° bevels for uppercase. Inspired by aerial views of pyramids in low light.

I've remade previous AT Sour Love by adding serifs, it fits better for this 45 degree rotated heart. But as previous one, the downloaded font still has rendering issues despite my attempts, most bricks located at lower serifs change into other brick for some unkown reason. Holes in hearts were removed cause they too have rendering issues when downloaded. 

Who says Christmas only comes once a year? Here's a second style of Ugly Sweater, this time just like Grandma used to make! Please respect the license - if you would like to use this font for commercial projects, please contact Alexander@Kominek.ca

A new take on my font home/sweet/home, expanded with some fun holiday dingbats. Just in time to use in your Christmas Cards! Please respect the license - if you would like to use this font for commercial projects, please contact Alexander@Kominek.ca

Italic stencil experiment.