ferrrreeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee

This typeface was designed as a response to the shift towards Online and Digital Communications that communities practice in modern society. Since the emergence Internet, people has more frequently resulted to email, messaging and other online connections as a means of communicating with each other as supposed to speaking directly in person.

This has limited the power of communication and removed many organic aspects of conversation. I feel this is particularly prevalent today as a result of the Covid pandemic and as people continue to feel more isolated, we loose the important subtleties in the way we discuss and exchange.

The character’s design was based off fonts like CMC7, MICR E13-B, CRT Screen Typography, the works of Gerard Unger, Wim Crouwel and other pieces of design created for the exchange of digital information between machines.

Theo D'Cruz 2020

Copyright 2020 Doug Peters of Symbiotic Design, all rights reserved worldwide, including artistic & creative rights. Version 1.0

https://www.Doug-Peters.com
https://Dougs.Work
https://www.Font-Journal.com
https://Worthful.com
https://W3N.US/DPFonts
https://www.Domainance.com
https://shop.DomainHostmaster.com
https://HDWebHosting.com
https://SiteHostPros.com

"Knot" font Copyright 2020 Doug Peters of Symbiotic Design, all rights reserved worldwide, including artistic and creative rights.

'Knot_Cartoon' font Copyright 2020 Doug Peters of Symbiotic Design, all rights reserved worldwide, including artistic and creative rights. Work In Progress (will require Glyphs or other pro font editor to finish).

Mjölnir Razor Copyright 2020 Doug Peters of Symbiotic Design, all rights reserved worldwide, including creative and artistic rights. Version 1.005

From the Mjölnir (Thor's war hammer) family. The Razor style denotes how sharp I made all of the lower serifs and other aspects of the design, while keeping that heavy slab hammer 'top'. 

I am a carpenter (of sorts) and this has to do with the fact that my hammer has a head divided into a blunt blow tool end and a prying end, usually for nails. I decided I wanted a version with a pry bar so sharp... GEEZ! look at that, I cut myself. Bloody hell.

Mjölnir Basic is Copyright 2020 by Doug Peters of Symbiotic Design, all rights reserved worldwide, including artistic and creative rights.

Mjölnir Basic is the cut-down, non-updated version of Mjölnir for personal use only, NO derivatives allowed.

Mjölnir slab serif novelty display font Copyright 2020 Doug Peters of Symbiotic Design, all rights reserved worldwide, including artistic and creative rights. Version 1.005

Mjölnir is the name of Thor's hammer (God of War), hence, I tried to make the letters resemble some sort of new fangled hammer.

Inspired by the Michigan M.

A surprisingly modern Western-themed type. Put pretty much every European language I could think of in here, therefore it's probably the most time-consuming one I've ever done.

Xilla Regular Italic, part of the Xilla family.

Other weights are on my profile.

Pixel slab serif typeface in 2 weights with italicised variants. Inspired loosely by Zilla, the Google open source font. This type is half the scale of Xilla Pro.

Further work and links here: willalbinclark.com.

Xilla Bold Italic, part of the Xilla family.

Other weights are on my profile.

Pixel slab serif typeface in 2 weights with italicised variants. Inspired loosely by Zilla, the Google open source font. This type is half the scale of Xilla Pro.

Further work and links here: willalbinclark.com.

Xilla Regular, part of the Xilla family.

Other weights are on my profile.

Pixel slab serif typeface in 2 weights with italicised variants. Inspired loosely by Zilla, the Google open source font. This type is half the scale of Xilla Pro.

Further work and links here: willalbinclark.com.

Xilla Pro Medium, part of the Xilla family.

Other weights are on my profile.

Pixel slab serif typeface in 3 weights with italicised variants. Inspired loosely by Zilla, the Google open source font. This is type is twice the scale of Xilla.

Further work and links here: willalbinclark.com.

Xilla Pro Bold Italic, part of the Xilla family.

Other weights are on my profile.

Pixel slab serif typeface in 3 weights with italicised variants. Inspired loosely by Zilla, the Google open source font. This is type is twice the scale of Xilla.

Further work and links here: willalbinclark.com.

Xilla Pro Bold, part of the Xilla family.

Other weights are on my profile.

Pixel slab serif typeface in 3 weights with italicised variants. Inspired loosely by Zilla, the Google open source font. This is type is twice the scale of Xilla.

Further work and links here: willalbinclark.com.

Xilla Pro Regular Italic, part of the Xilla family.

Other weights are on my profile.

Pixel slab serif typeface in 3 weights with italicised variants. Inspired loosely by Zilla, the Google open source font. This is type is twice the scale of Xilla.

Further work and links here: willalbinclark.com.

Xilla Pro Medium Italic, part of the Xilla family.

Other weights are on my profile.

Pixel slab serif typeface in 3 weights with italicised variants. Inspired loosely by Zilla, the Google open source font. This is type is twice the scale of Xilla.

Further work and links here: willalbinclark.com.

Xilla Pro Regular, part of the Xilla family.

Other weights are on my profile.

Pixel slab serif typeface in 3 weights with italicised variants. Inspired loosely by Zilla, the Google open source font. This is type is twice the scale of Xilla.

Further work and links here: willalbinclark.com.

I really liked my last slab serif font, and so I decided to make another one. This time, we've put the file on it and rounded the corners.

this is anothe generation of kaidro

Experimented as I usually do with a half-thickness version of the font which looked good enough to do the entire thing over.

Naturally this is more of a body text font than the default Gemini.

I began doing a serif font, and found that I really liked it when I rounded the corners off a bit. It makes it look rather cyberwestern. Have you ever played Wild Guns on the SNES? It's got that vibe about it.

Derivative of Whichcraft.  Both Whichcraft & TRE45ON are fonts created by and Copyright by Doug Peters (SymbioticDesign).

Copyright 2019 Doug Peters (https://www.Doug-Peters.com or https://Dougs.Work) of Symbiotic Design (https://www.SymbioticDesign.com).

Donations are super-appreciated.  Credit for my original work IS also greatly appreciated. 

I guess I would classify this one as: Experimental.
Type: Slab Serif Caps with Sans?
Weight: Heavy.
Web font: Yes.
Commercial use: Yes!
Derivatives: No.
Redistribution: No.

P.S.:
Font-Journal (Freeware fonts for designers):
https://www.Font-Journal.com
Hevy Duty Web Hosting (Genuine cloud web 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

PayPal donations (to encourage my continued freeware font design efforts):
https://paypal.me/sitedesigner

Oh yeah, I design logos, websites, graphics, ads, marketing campaigns, PCs, and just about anything, really. -DP

modern semi bold slab serif font

By request, a small, sporty, polygonal, uppercase serif font. The name is inspired by Hammer from Castlevania: Aria of Sorrow. This is quirky, strong, and from nowhere - just like Hammer.

This design seems best for signage, woodcuts, and the like. It carries a bit of a "sports" look too. The numerals and symbols are sans serif to make them look more modern. The asterisk is a hammer. Is it Hammer's hammer or Hammer's brother (who is a hammered Hammer Brother)'s hammer? No one knows.

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.