A one-time co-worker of mine sometimes used a fanciful inkpen-style script in display-lettering situations.
I liked it a lot. “Phil,” I says, “why not do the whole alphabet, maybe a few little dingbats, and I’ll make a font.”
Well, one day he presented me with a stack of posterboard; he’d done some letters, all right—hundreds of ’em. I managed to boil these down into a typeface called Treefrog, a name that seems to match its organic jumble, its tall x-height, its left- and right-leaning stems, its thick and thin strokes.
Full release has many dingbats.