Very nice fat font! GOOD WORK!

You could improve spacing on s and z. still gets a 10 from me.

Shoutout to Mr.Meek: TOP PICK THIS!

I did a version of Mooch a long time ago. NCD Mooch Rounded II

@djnippa: Please don't advertise your own fonts.

@winty5 Personally I'd say it's more of an "I did the same thing too" than advertising.

The same thind I did at fs crossword: placing a comment about "hey, i made a font that's based off this one!"

thing

@Winty5. Listen boy, don't even think about telling me what to do! I've been here since 2008, so I know exactly what's what. Anyone with any sense can see it's obviously NOT advertising.
So please keep your stupid comments to yourself.

@Djnippa: I was NOT telling you what to do, and I don't care how long you've been here, you have no right to start bossing ME around either, no matter how old I am. And "Please keep your stupid comments to yourself" I think YOU need to keep your own stupid comments to yourself! And, well, maybe it seemed a but like advertising to ME, because demonics said that to me when I posted a similar comment on one of Neoqueto's fonts, but did I respond the way you did? NO! So that proves that I'm definitely not stupid!

Plus, If i had any respect for you as a fontstructor before, it's all gone now!

@FontBlast: Sorry for messing up all the comments on this font page, I still have very high respect for this font.

@winty: Come on boy, don't so offensive about things... I know you have been warned not to advertise your fonts because you kept 'advertise' your fonts in many fonts you met. And that's a bit annoying.

@djnippa: And you. I'm sure you know that winty5 is just a 10-year-old boy so PLEASE treat him as a 10-year-old boy. I know he makes you mad and you feel 'disgusted' with his manner... but please let him grow.

And sorry my grammar sucks...

@Cablecomputer: Sorry for making a fuss, but djnippa was being very rude to me, so I though I had to do SOMETHING, and yes, I may be a bit annoying at times, but djnippa has no right to say something like that to me.

@winty5: Okay, this is the last, don't mess this comment section again. If you want to talk more do it via Private Message.

I know winty, he has no right to say that, but it doesn't mean you're right also. You reply him with an appropriate comments for a boy like you.

You've said you'll turning 11 tomorrow, welcome to a long journey to a mature world. Please understand if everyone has different manner that some of them will make you mad, angry, sad, or even cry...

But please respect everyone, I've been warned him to respect you. So now it's fair :)

-------------------

And...
"@FontBlast: Sorry for messing up all the comments on this font page, I still have very high respect for this font."

Good job Font Blast! 10/10

Easy there fontstructors. How about a history lesson to clear up a few things?

The first fontstruction in a similar style to Peach – Plump by nathancox – was released before the official announcement of fontstruct. It was, in fact, included in the announcement here (third-to-last sample) and here.

Peach, like Plump, uses 2x2 filters and is therefore counterless. DJ Nippa, Em42, and Afrojet’s fat-face experiments (the Mooch and Mango series) all use 1.8x : 1.8x filters with brick overlaps to generate their counters. This complex technique creates a distinct effect more akin to folding sausage links than the inflated-balloon contortions of a true 2x2 fat-face. Therefore, Peach is a departure from the cited sources (Mooch and Mango) and a revisitation of an earlier, perhaps unknown form.

The fractional scaling + brick overlaps that give Mooch and Mango their characteristic slits, dots, and notches for counters were all techniques I developed and first published under my now defunct williaum account. This was the Re:leaf series, the last highly innovative (and, as always, cloneable) contributions I made under williaum before deleting the account.

Like brickstacking, the scaling + overlap trick that allows for maximum curves caught on and became the fundamental approach for many later works. Notable examples include those cited above in addition to a collection of other fonstructions by afrojet, thalamic, Em42 (the delisted Mango, one of his first published fontstructions), and DJ Nippa amongst others. geneus1 also made a play on “fractional scaling” with overlaps when he took his own innovative tangent in the aftermath of Re:leaf Gothic.

It’s just part of the fontstruct toolbox these days, one of myriad techniques fontstructors call upon to create their diverse modular arrays. Surely some folks arrived at the idea independently of Re:leaf Gothic or the works that it would go on to inspire even after disappearing. A year later, Meek revealed one of the original FontStruct logo concepts utilized this technique!

And thus concludes this lesson in FontStruct history. I will close with an image exhumed from the fontstruct samples archive. Though the original williaum account is long gone leaving nary a direct link outside the memories of the earliest fontstructors, we can go back through a chronological listing of all images posted by users on this site to discover this 185th sample circa mid-August, 2008:

That was an interesting lesson, Will! :)

...and since Re:leaf Gothic Display does not include maximum curves, here are combined samples #178 and #183 for the full body of evidence. Remember folks, the test is on Friday. ;-)