nice work boys
running steve is v1.3 of the fontstruction "running steve 1987".
This is a clone of LetrasteveSee more:
https://fontstruct.com/fontstructions/show/1270088/kirpich-1
This is a clone of zarzaparrilla eYe/FS CThe bold slab version of Neue Haas Grootesk.
This is a clone of Neue Haas Grootesk BoldThis is a slab serif font that is meant to resemble the artchitecture of a castle from far away lands. With a worn effect to the characters and small embellishments like flags, windows, and lookouts, this font is meant for kings and queens from all lands. This font is best suited as a display type.
See more:
https://www.fontstruct.com/fontstructions/show/755432/nova_informe_serif
https://fonts.google.com/specimen/Podkova?selection.family=Podkova:400,500,600,700,800
https://fontstruct.com/fontstructions/show/877070/fs_not_a_semiserif
https://fontstruct.com/fontstructions/show/951011/fs_afterline
https://www.fontstruct.com/fontstructions/show/999634/at_digitta
This is a clone of fs nudgershootsJust a Western font inspired by other Western fonts like "Bottoms" by rilencavy and "Western Calligraphic" by Wataru Aiso.
There are only a few characters in this font, and some of the punctuation might not be original.
This is a black sans serif minimalistic block font with a couple of repeating themes in the ends and such. I consider this freeware, but maintain my copyright and only allow distribution through fontstruct and my own journaled catalog of freeware fonts (@ font-journal.com).
Copyright 2013 & 2019 Doug Peters (https://www.Doug-Peters.com or https://Dougs.Work) of Symbiotic Design (https://SymbioticDesign.com). This font is released under the Fontstruct license as freeware with credit attribution as a requirment for using this font for free.
Credit for my original work IS greatly appreciated, and you only have to credit me with an active link from your website, blog, or in a public social networking post, with a link to any of my URLs. I also sell domains and web hosting if ever you need the best spam free solutions available online, anywhere.
Style: Playful.
Classified: Quirky or Whimsical.
Type: Sans (with a few Serifs)... Semi Sans?
Weight: Bold.
Web font: Yes.
Commercial use: Yes!
Derivatives: No.
Redistribution: Nope.
Credit URLs:
https://www.Doug-Peters.com
https://Dougs.Work
https://SymbioticDesign.com
https://Worthful.com (blog)
Font-Journal:
https://www.Font-Journal.com
Heavy Duty Web Hosting:
https://HDWebHosting.com
Domain Names:
https://www.DomainHostmaster.com
https://www.Domainance.com
PayPal donations (to encourage my continued design efforts):
https://paypal.me/sitedesigner
The Xwept family of fonts are Copyright 2017 & 2019 Doug Peters (https://www.Doug-Peters.com or https://Dougs.Work) of Symbiotic Design (https://SymbioticDesign.com) and released into the global public community as Creative Commons public dedication freeware (CC0). Use these font as you like. Credit for my contribution to this work IS greatly appreciated, though not necessary. Donations are super-appreciated and even more encouraging.
PayPal donations (to encourage my continued freeware design efforts) URL:
https://paypal.me/sitedesigner
Type: Modern Gothic. Slab Serif (with Goth cuts).
Style: Casual, Retro or Freestyle.
Classification: Logotype or Novelty font.
Weight: Heavy/Bold (Heavy Bold?).
Web font: Yes.
Commercial use: Yes!
Derivatives: Yup. Go for it.
Redistribution: Anywhere.
Some of my websites:
=============
Font-Journal (Freeware fonts for designers):
https://www.Font-Journal.com
Heavy Duty Web Hosting (genuine Linux Apache cloud hosting solution):
https://HDWebHosting.com
Domain Name registration:
https://www.DomainHostmaster.com (Wild West Domain Registry)
https://www.Domainance.com (Directi's "Public Domain' Registry")
Fonts and graphics blog:
https://Worthful.com
Oh yeah, I design logos, websites, graphics, ads, marketing campaigns, PCs, and just about anything, really. Let me know what you need. -DP
A quirky Pseudostencil design with a central horizontal slot going through it. The "slot" is 1 brick tall for lowercase and 2 for uppercase, and becomes a vertical slot for numerals and certain symbols.
This is named for the cowboy and lasagna emojis. These were repeatedly added to then removed from several popular chat clients and websites. Changing emoji standardization or government conspiracy? YOU DECIDE.
By request, a semimodular font which looks like a casual interpretation of "General Failure". This is also more condensed and more Pixel Optimized than its predecessor. It makes me think "fire station in a cartoon".
It uses a technique which folds some slabs in, which prevents slabs from altering the heights of letters - but slabs are still allowed to alter width to some extent. The slabs which do this are incorporated into glyphs' structures to such an extent that they are integral parts of the linework.
This could be kerned more closely, but like me, the requestor uses software which doesn't support kerning. Consider the spacing as part of the desired quirkiness.
A vaguely Courierlike OSD (Onscreen Display) font which tries its best to be casual. The name is inspired by the old computer joke: "Who is General Failure and why is he reading my hard disk?"
No filters or faux-beziers, just stock bricks and a bit of stacking/nudging!
*
More about the design:
It started as a doodle and an attempt to make a smooth, low-resolution, low-poly font, and then it became a Courierlike. I have other fonts that tried to do polygonal round shapes before this (such as Cartoon Riot) but this design is my first real success in this area.
Initially, I made the angled glyphs before the round ones. I didn't want to change the angled ones, so glyphs like C, O, and Q became a bit wider than they are tall. I'm quite fond of this, because in most designs these glyphs tend to have a tall and narrow character. I think the mildly squat look of this font makes it cuter and gives it more personality.
A lot of glyphs were altered in specific ways to look more like metal type, especially anything with diacritics which touch the letters themselves. Other glyphs were altered specifically to be interpretable at small size. I also use angled contours and actual round bricks alongside each other within the same glyphs, another technique which is geared toward style and interpretability at small size.
This font came with many new challenges and an array of new techniques had to be designed. Loops were an insurmountable challenge because of the low resolution and heavy line weight, so I drew rounded areas to suggest them. You can see it on letters like Greek γ, ζ, and ξ.