A design with small caps... by which I mean the caps are lowercase :D

INGREDIENTS: Triangles, Distilled Water, Orange Juice, Citric Acid, Powdered Unicorn Horn, Metaphlogiston Clef-21 (to preserve optical clarity), Waifu Tears.

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- - SHAKE BEFORE ENJOYING - -

Derived from Chisato by Zephram.

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

Although Zephram's work is no longer apparent here, it exists in the underlying compressed letter forms and shapes of most of the characters that inspired me to give it a twist and make it monspaced with tapered ends.

Donations are super-appreciated.  Credit for my contribution to this work IS also greatly appreciated. 

Type: Monospaced Sans.
I guess I would classify this one as: Casual, Condensed.
Weight: Regular.
Web font: Yes.
Commercial use: Yes!
Derivatives: You betcha.
Redistribution: Anywhere.

P.S.:
Font-Journal (Freeware fonts for designers):
https://www.Font-Journal.com
Heavy 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

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!

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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.

Version 1.5: Added Greek and made many refinements. Also came up with a new tilde design for all the glyphs that have one.

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By request, a casual art deco design.

Version 1.2: Added Greek and Polish.

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An attempt to do large rounded shapes using only the stock FS bricks.

A friend wanted "cartoonish Roman-style text" and so I created this. It's pretty rough, but that's what was desired, so it's not changing.

Version 1.3: Added Polish.

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Another asymmetrical sans-serif made for use in rulebooks for the Freeform Limitless Adventure Kit (FLAK) pen-and-paper game system. This one is classed as a hybrid and works well at all point sizes!

It began as a Constant Height design, but now I don't classify it as such since most of the letters with diacritics are taller than those without. A few letters (eszett, thorn, eta, etc.) are allowed to descend slightly, as well.

This font has also found some use on signage at a friend's bistro!

Version 1.1: Several glyphs (BKMRWXkmwx38&{}µÆæß³Œœ™) were edited for readability and þ was edited to distinguish it from Þ.

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A font made for a friend's board game!

This gives me a strong "film credits" feeling with its high impact and simple geometry. 

An ornate Goud with lots o' thorns! Now with MORE THORNS.

Rather than serve an ornamental or decorative purpose, this one is made to be as clean as possible so that it works well for body text. It's highly legible at small size, so it could potentially even be a programmer's font!

"Goud" stands for "Garden of Unearthly Delights", the name of an album from the band Cathedral.

An improved version of Derpberd which remains true to the original style.

It's still very casual-looking and very well suited to comics and pixel art, but it's also more regular and readable than before.

I wondered what a plain version of Candylander would look like, so I made this. :D

I think a fully half-arc version could look even more stylish than this! Hope to find time to create one soon. (EDIT: Done, see Migrator)

A more bookish take on Comicool, made for more comfortable general reading. It's still useful for comics, as well!

Many letters were squared off in the corners, lowercase letters were given stems, and an assortment of glyphs were edited for more style.

This is the third iteration of Comicool... rather than develop them all toward one style, I tried to make each iteration the best it could be. The result is three distinct, but still compatible styles. This one is probably the best for body text!

A half-sized, filterless version of Comicool Unicase which also has square terminals.

This has lowercase, but is made for all-caps comic book style lettering, so consider the lowercase as something added for accessibility's sake...

A variant of Clockwork Macguffin in which most curves are changed to 90° angles. Whereas with most fonts a change like this would result in a more authoritarian or "professional" look, this one became quirkier. I like it!

Version 1.1

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An experiment which attempts to harmonize soft curves and straight lines while eschewing angles. The result is this "inkflow" design. What is the opposite of an inktrap? I don't know, so I'm calling it inkflow.

This could also be viewed as a hybridization of neon-style lettering and normal sans serif... it is not quite made to be either one, but could act as a decent companion font to them. Most neon fonts need a larger size and are thus more suited to headers, while this design is well suited to body text.

This could also ALSO be considered a Hybrid because it works as both a pixel font and a high-res one.

I built this to have the least possible padding at the top of a button.

Kitchen Sink, sans the rounded counters. This font really is plain-looking when all its embellishments are removed, but sometimes that is what people want.

The original Kitchen Sink - a design with rounded counters.

This design is intentionally fairly plain. Check out the Kitchen Sink family to see the others :^)

A rounded sans-serif with rounded counters. That's DOUBLE the roundedness FOR FREE!!!

This family is made to have a high impact. Did it work? :^)

The 8/6 block thick version

This is the 7/6 block version. I've been liking this weight for programming at size 8.

Friendly Geek:
 Good for...
  - Labels
  - Upper case
  - Code
  - Table cells
  - Outlines
  - Display
  - Printing
  - Informality

 Not Good for...
  - Normal Text
  - Sentences
  - Formality
 
 Sometimes Good, Sometimes not...
  - For each display screen size, one or two weights work well

I have changed the 'h' and the '+' to work better for programming. Changed the 'F' to make it more clearly different from the 'f'. Before it was looking a little bit like lower case somehow.

Friendly Geek is the regular version of Friendly Geek Light. Its widths are all 6/6 block rather than 4/6 block. The outlines of the glyphs have generally been left the same, with the insides being filled with 2/6 extra width.

Here is my fourth attempt to make a narrow font that accentuates diagonals. It seems to be a good programming font at size 10. It makes it surprisingly easy to read upper case consonant names.

Design is as follows:

Monospaced of course, because code pretty much requires this. Code fonts are built for both reading and editing, and when some letters are very narrow like the i and l in most fonts, that makes them very hard to select with a mouse and therefore very hard to edit and makes these fonts very hard to use for programming. In addition block cut and paste is important for programming and monospaced is required to do this easily.

Small sizes need to be easily readable. Sometimes you need to be able to see a lot of code on one screen.

Two Dimensional - designed for two dimensional grid-like work such as spread sheets and programming. Lines to draw reader's attention vertically are preferred over lines to draw reader's attention horizontally (as in most fonts). That makes this font more difficult for reading text and less difficult for reading code.

Glyphs are wide in the center of each letter so that diagonals and crossbars are easy to see, and narrow toward the top and bottom so that the characters pull away from each other and are easy to tell apart.

Bodies of the lower case letters are made relatively tall so they are easy to read in code, yet maintaining a clear difference between the height of the lower case and upper case characters - very important.

From top to bottom: 2 blocks upper diacritics, 1/6 block space, 2 blocks stems and upper case, 5.5 blocks lower case body, 1/3 block space, 2 blocks lower diacritics.

Clear distinctions exist among the members of each of the following groups of glyphs: ({[  ])}   Il1  aes   Ss56$   Zz217?   `'   .,   uUvV   coCO0D   pP   ;:   ~-  to help tell exacty what each glyph is. This is critical in programming.

Numbers are really large. It doesn't hurt at all for numbers to stand out in programming. This is ok because numbers never have diacritics. The 7 has a bit of a scoop so it does not look like a 2 when underlined.

Vertical alignment - The pairs {}  ()  and []  line up precisely vertically.

The dots are large and distinct so they show up easily in code.

Large numeric 'operators' +-/\%^~=* are easy to read in code.

At least one block touches the right edge in each glyph so that Visual Studio can figure out what's going on. This also means that many glyphs do not touch the left edge and some narrow puctuation glyphs have a tiny extra block off on the right edge.

Floating a little bit above the zero line helps in dealing with underlines.

Avoids horizontal strokes to reduce problems with pixelation at various sizes in various programming tools.

Sans Serif (mostly) so that you can cram glyphs together more tightly.

Also:

Diacritics have lots of space since the area above and below the capitals is more than 2 blocks, so they can be added later on.

Looks scripty - There is a bit of a scripty thing going on because of the wide bases for the lower case i and l, so this is enhanced a bit in the I, J, S, U, Z, f, t, u, z and s.

Narrow enough to be mistaken for an informal text font although since it is designed for two dimensional work, simple lines of text are not that easy to read.

A little too thin - A little bit too thin to be easy to read on a pixelated screen below size 10, although it does print very nicely, so I am labeling this Friendly Geek Light, and I am building a Regular and a Bold font also.

Recent Changes:

Made the 'h' lean to the right to distinguish from the 'b'. Straightened out the '+'. Made the 'F' drop below the rest of the upper case to make it look less like an 'f'. Heightened the 'v' to make it smoother.