Akira Kobayashi modified his Eurostile Next design into a fun unicase version. Ascenders and descenders have been traded in for alternates of letters that all share the same height. The effect is similar to using all caps, although this is quite a bit more quirky. For example, letters like the lowercase a and e are now the same height as their capital versions and the lowercase y has been raised to fit between the baseline and top height. Odd relationships such as these give Eurostile Unicase a fresh and funky feeling. Try using it for headlines and titles, then use Eurostile Next for the body text!

Introduce the Kembol font, this font is perfect for you to use in a variety of visual projects, use a unique combination of type designs to create a beautiful and captivating visual impression. This is a quirky and cute font that includes lots of fun and creative touches. The result will be a great reminder that can be used in any design project you want. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

New Twist Display font, so here for you, Salty Mussy! Salty Mussy - A display typeface that has quirky and twisted style, It brings back the 70s vibes with its modern but still funky rhythm. This font has a beautiful uppercase and lowercase, so it can show more options for your project! Salty Mussy - This font is also included in the psychedelic style which can be very suitable for use in many projects such as street art design, posters, magazines, quotes for Instagram, and many more! What you get : Letters, numbers, punctuation, multilingual support Has 64 beautiful alternates and ligatures Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Dharmas Studio

Massive moon is headline font with a retro feel transports readers to a bygone era, invoking nostalgia and charm. Its bold strokes and quirky serifs harken back to the golden age of design, reminiscent of vintage posters and classic advertisements. The typeface exudes a timeless appeal, seamlessly merging the flair of yesteryear with modern readability. Each character carries a sense of character, mirroring the craftsmanship of mid-century typography. The warm color palette and slightly distressed texture further amplify the retro vibe, adding a touch of authenticity. This font doesn't just convey information; it tells a story, bridging the gap between the past and present.

A flower became crushed in the door frame of the studio (a fancy shed at the end of an overgrown garden)... pretty pale yellow stamens scattered on the floor... I sprinkled some on the scanner and arranged them into a light and airy font for springtime. There are two alphabets, both uppercase, but one with doubled uprights for variety, and to provide a hint of extra weight. I didn't want to distort the natural shapes, or make up any of my own, so some letterforms are pretty quirky, and some characters just weren't possible... but there's a hidden bunch of flowery and grassy ornaments.

Chubby Chicks - Funky Display Font. Chubby Chicks a bold, quirky display font with a fun and trendy cute characters. With a childish style, it will be very suitable for your project, which is related to children. Such as story books, illustrations, comic books, t-shirts, posters, greeting cards, logos, branding, stickers, svg, crafting. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

Junior Schoolboy - Bold Fun Display Font. Junior Schoolboy a bold, quirky display font with a fun and trendy cute characters. With a childish style, it will be very suitable for your project, which is related to children. Such as story books, illustrations, comic books, t-shirts, posters, greeting cards, logos, branding, stickers, svg, crafting. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

Floridium grew out of an affection for the old wood types of the 1800s. Painters Roman* was the initial inspiration. It was the source for the �banana� and �snake head� serifs. But the design�released by Adobe as Juniper�was too quirky to be useful. I tried to make it more sophisticated and modern while keeping the original personality of the 19th century types. The name resulted from a trip to Miami while the initial drawings were being made. Not the best way to name a typeface, but while we were in Miami Beach there was this tall blonde in a bright yellow bikini sitting on this bright yellow Porsche and...

Proudly Present, Manadis Deadly a Quirky Font. Manadis Deadly come with many Stylistic-Alternates for Uppercase and Lowercase. This also come along with Multi-Lingual Support so thats all will give you more choices to play arround. We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. Manadis Deadly is perfect for any tittle, logo, product packaging, branding project, megazine, social media, or just used to express words above the background. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank You!

P22 Victorian is a font set created in conjunction with the Albright-Knox Art Gallery's exhibition of Victorian-era French artist James Tissot. The fonts developed for the P22 Victorian set are based on historic typefaces dating from the late 19th century. Victorian Gothic was based on a type style called ‘Atlanta’, a simple, expanded width, quirky, yet elegant face similar to ‘Copperplate’. Victorian Swash was inspired by the willowy, delicate face ‘Columbian’, which has also been known in recent years as ‘Glorietta’. The P22 version includes ‘snap-on’ flourishes based on the original 'Columbian' ornamental embellishment designs. Victorian Ornaments features over 150 decorative embellishments.

I came across an old book called ‘Studio Handbook Letter And Design For Artists And Advertisers’ by Samuel Welo. Samuel Welo was an American advertising calligrapher, typographer and lettering artist, who was most active during the roaring twenties. Lenox Avenue is my version of a set of letters in that book. It was handmade (just like Welo had done). I only had an ABC/abc to work with, so I designed all the remaining glyphs myself. I changed some of the original (and quite quirky) letters to a more contemporary form. The font is named Lenox Avenue, once home of the famous Savoy Ballroom. Comes with all the bells & whistles.

Touch Tone introduces a condensed lowercase and oblique italics to the uppercase font inspired by the "Dr. Strangelove" movie titles – designed by Pablo Ferro. Touch Tone's naive hand-drawn strokes rely on a quirky variable width-brush. They are looser, more textured, tactile, more informal, with quirky nervous lines. A family of four fonts: it includes two weights, light and medium, and both with roman and italics. All the fonts include the same patterns and ornaments. However, many of the “medium” font weight ornaments are beefed up to visually match. Touch Tone utilizes OpenType features. It imitates handcrafted lettering by including 2 glyphs for each U&lc letter (4 sets) – all kerned with care. This medley avoids a repetitious appearance so each sentence looks original and hand-drawn. The uppercase includes two widths – extra condensed and extended. Add whimsy and eccentricity by mixing the extra condensed caps with extended caps and the lowercase alphabet. Use the Contextual Alternates, or Stylistic Alternates features panel, or select the alternates in the Glyphs palette. Touch Tone includes oldstyle numerals, a variety of retro patterns, dingbats, speech bubbles, icons, banners, graphic arrows and ornaments. Each font includes 403 glyphs. Suitable for display or text and many European alphabets. Purchase both weights, roman and oblique italics to emphasize words. Touch Tone combines cool graphics and patterns with OpenType. Generously apply Touch Tone for added warmth and a "Rat Pack" groovin' message.

Introducing, Comica Brush! An attractive, bold, and playful display font. Inspired by comic books and cartoons. This font gives a charming and strong impression. Comica Brush datang dengan dua versi (textured and solid), serta multilingual support dan underline swash. Untuk mengakses underline swash anda hanya perlu mengetik _1 - _4. So simple. Comica Brush is very suitable for various design needs such as merchandise, packaging, social media, ads, T-shirts, logos, events, and many more. Enjoy Designing. Thank you!

Pine Nuts is very suitable for a variety of designs, packaging and quick statements. For a connected version please visit Pine Nuts United.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. Almost all the letters of PAG Trust are drawn by bold line, but some bars are very thin line and counters are extremely small. With this font, regular typed text transformed into unique typography. We can’t decide the impression of PAG Trust, depending on how to use it, it can be cute package, retro book cover or propaganda poster of Cuba.

This font is big on 2 things: Class & Quirk. Inspired by hand-scripted menus. This modern hand-calligraphy font isn't just for one or two-word logos. Designed to make a statement when used in large amounts. Great in large & small doses alike. Slightly irregular texture for that perfect hand-lettering touch on the page. Beautiful Duo for your next event or project! Multilingual support.

Hand forged with strength & precision – Forged is a bold, powerful typeface that stands strong. Handcrafted as if by a blacksmith, this typeface has its quirks and imperfections like any metalwork which gives it a unique character. The family consists of regular, outline, bevel and fill versions. All weights are versatile and can be used for packaging, logotype, copy and headings. Strike while the iron's hot!

SATURDAY CHAMPAGNE is a monoline modern calligraphy script. Perfect for titles, headings and logotypes for blogs, ads, quote prints, home decor, book title, invitation, birthday, custom product, lifestyle imagery (like quotes and stuff). This font is written by the amazing hand letterer and fellow artist of mine, Leah Chong, and is a collaboration project. The character set contains Western and Eastern European accents and extra characters, symbols and the following open type features: Ligatures: ff ll oo rr th tt ty Finals: b c d l g p y z Instagram: @leahdesign @rolandhusedesign https://leahdesign.sg https://rolandhuse.com Awesome background image for main poster by Simon Buchou from Unsplash https://unsplash.com/@simon_buchou Background mock ups for Girls Night Out and White Sea Cosmetics are from graphicburger.com http://graphicburger.com The Quote "Reality aligns with your mindset" is my favorite and is from Matt Lopez from the Lambo Goal podcast, picture is taken and photoshopped by me. Thank you I hope you like this font & good luck with your project! Roland

ITC Johnston is the result of the combined talents of Dave Farey and Richard Dawson, based on the work of Edward Johnston. In developing ITC Johnston, says London type designer Dave Farey, he did “lots of research on not only the face but the man.” Edward Johnston was something of an eccentric, “famous for sitting in a deck chair and carrying toast in his pockets.” (The deck chair was his preferred furniture in his own living room; the toast was so that he’d always have sustenance near at hand.) Johnston was also almost single-handedly responsible, early in this century, for the revival in Britain of the Renaissance calligraphic tradition of the chancery italic. His book Writing & Illuminating, & Lettering (with its peculiar extraneous comma in the title) is a classic on its subject, and his influence on his contemporaries was tremendous. He is perhaps best remembered, however, for the alphabet that he designed in 1916 for the London Underground Railway (now London Transport), which was based on his original “block letter” model. Johnston’s letters were constructed very carefully, based on his study of historical writing techniques at the British Museum. His capital letters took their form from the best classical Roman inscriptions. “He had serious rules for his sans serif style,” says Farey, “particularly the height-to-weight ratio of 1:7 for the construction of line weight, and therefore horizontals and verticals were to be the same thickness. Johnston’s O’s and C’s and G’s and even his S’s were constructions of perfect circles. This was a bit of a problem as far as text sizes were concerned, or in reality sizes smaller than half an inch. It also precluded any other weight but medium ‘ any weight lighter or heavier than his 1:7 relationship.” Johnston was famously slow at any project he undertook, says Farey. “He did eventually, under protest, create a bolder weight, in capitals only ‘ which took twenty years to complete.” Farey and his colleague Richard Dawson have based ITC Johnston on Edward Johnston’s original block letters, expanding them into a three-weight type family. Johnston himself never called his Underground lettering a typeface, according to Farey. It was an alphabet meant for signage and other display purposes, designed to be legible at a glance rather than readable in passages of text. Farey and Dawson’s adaptation retains the sparkling starkness of Johnston’s letters while combining comfortably into text. Johnston’s block letter bears an obvious resemblance to Gill Sans, the highly successful type family developed by Monotype in the 1920s. The young Eric Gill had studied under Johnston at the London College of Printing, worked on the Underground project with him, and followed many of the same principles in developing his own sans serif typeface. The Johnston letters gave a characteristic look to London’s transport system after the First World War, but it was Gill Sans that became the emblematic letter form of British graphic design for decades. (Johnston’s sans serif continued in use in the Underground until the early ‘80s, when a revised and modernized version, with a tighter fit and a larger x-height, was designed by the London design firm Banks and Miles.) Farey and Dawson, working from their studio in London’s Clerkenwell, wanted to create a type family that was neither a museum piece nor a bastardization, and that would “provide an alternative of the same school” to the omnipresent Gill Sans. “These alphabets,” says Farey, referring to the Johnston letters, “have never been developed as contemporary styles.” He and Dawson not only devised three weights of ITC Johnston but gave it a full set of small capitals in each weight ‘ something that neither the original Johnston face nor the Gill faces have ‘ as well as old-style figures and several alternate characters.

Yuletide Doodles is the perfect font for that quickie Christmas party flyer, menu, or invitation. Or make your own gift tags. The uses are endless. This font includes gifts, ornaments, snow globe, snow man, holly, olive branch, lots of trees and stars, a light bulb, deer, moose, wreaths, pine boughs, skate, stocking and crown. This font works well with Christmas Doodles and Christmas Doodles Too . Mix and match to your heart's desire.

Font allows one to quickly make a schematic map of Ukraine. To separate individual regions use color or uppercase characters. The font contains the Trident emblem of Ukraine. This font may be useful to illustrate materials about Ukraine.

Here comes a New font, Bullhead is a handwritten brush that is written casually and quickly. these strong Letters are made with brushes on Procreate. Bullhead is perfect for homeware designs, branding projects, Logo design, Quotes product packaging.

Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights. Humanist sanserifs (others that fall into this category are Linotype’s Frutiger and Optima, and Monotype’s Gill Sans) are an attempt to improve the readability of sanserifs by applying classical roman structure to the letterforms. To enhance its versatility, Mr. Pasternak designed a wide variety of alternate characters, rare ligatures, ornaments and swashes. Chianti is a friendly sanserif useful for a broad range of typographic needs.

Hello... this is Cherries, a cute and bounch hand drawn font family. Cherries have 5 weight: light, regular, medium, semibold and bold with 2 styles: regular and slanted also included with pairing font Cherries Display. Cherries included with some alternate character and ligature to make your design awesome. Cherries is fun and very suitable for cute or girly design needs such as cover design, typography, sticker, greetings card, logo, merchandise and many more. Cherries also easy for read and you can use it for quote or caption. Add this beautiful handwritten font to each of your creative ideas and notice how it makes them stand out!

Teaspoon was originally designed by Haley Fiege as a project-specific font in 2007, then completed and produced by Canada Type for commercial viability in 2008. With a personality that can only be described as “ironic cute”, it serves as a much needed alternative for the old overused poster faces, such as Cooper Black and Gill Sans Extra Bold. Words that look good set in Teaspoon include puppies, rainbows, salmonella poisoning and Tom Cruise. Teaspoon is available in all popular formats, comes with plenty of alternate characters, and supports a wider than normal range of Latin-based languages, as well as Cyrillic and Greek.

English Grotesque is based on the proportions of an early 20th century signwriter’s sans, emphasising the characteristic idiosyncrasies of type of the period. Sharing a similar Roman circle-and-square construction as Gill Sans or Johnston Railway, it has a wide T and W, a narrow S, and a long-tailed R. The Roman alphabet did not include a lower-case, and therefore early sans-serifs tended to base theirs on handwritten or cursive models, resulting in more even character widths. English Grotesque, by contrast, carries the more characterful proportions of the capitals through to the lower case. Available in six weights, with optional alternative versions for the Q, &, £ and J.

Macha shares the same DNA as its sibling Anago, but is a completely different species than the former or any of my other sans serifs (Aaux Next, Air, Akagi Pro or Wasabi). It's no-nonsense construction bears many influences from Gill Sans and Frutiger while stubbornly blending my own humanist touch. The focus on developing Macha was just to get to the point with each letterform and discard the rest. Macha takes a little but gives a lot. A fully-loaded character set includes: Small Caps, Proportional Lining and Oldstyle Numerals, Tabular Lining and Oldstyle Numerals, Fractions, Ordinals, Inferiors, Superiors, Stylistic Alternates, Ligatures, Case-sensitive, and more.

Designed by Malaysian designer, Ong ChongWah, Abadi is a versatile sans serif typeface whose style lies between the humanist Gill Sans and the more rigid lineales such as Monotype Grotesque and Helvetica. These humanist characteristics give the Abadi fonts a friendliness in use and contribute as much to its legibility as the generous 'x' height. The italic font relates to the roman, yet has sufficient character to be effectively used independently. The range of weights and widths available give Abadi a wide spectrum of graphic applications, from small quantities of text in magazines and newspapers, to display use in packaging, advertising and even television.

Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights. Humanist sanserifs (others that fall into this category are Linotype’s Frutiger and Optima, and Monotype’s Gill Sans) are an attempt to improve the readability of sanserifs by applying classical roman structure to the letterforms. To enhance its versatility, Mr. Pasternak designed a wide variety of alternate characters, rare ligatures, ornaments and swashes. Chianti is a friendly sanserif useful for a broad range of typographic needs.

Start from the idea of our free font, Curely, which has hit the milestone - a 70K project views on Behance and a thousand times more download (still going). Now we came up with the Pro version of it. More complex, more features, and absolutely more playful. So, please welcome, Curely Pro. A Versatile casual handmade decorative lettering typeface. Still inspired from the girly things and cuteness overload in every letters. Perfectly fit for your cute, sweet, lovely, and casual branding or logo project. Or any design stuff that need a lovely cute touch on it, let the Curely Pro smooch it all the way baby!

A 14-weight sans family based on the original British ‘M.O.T.’ (Ministry of Transport) alphabet. A capitals-only, single-weight design was drawn up around 1933 for use on Britain’s road network, and remained in use until Jock Kinnear and Margaret Calvert’s ‘Transport Alphabet’ was introduced for Britain's first motorway in 1958. The identity of the original designer is not preserved; however, Antony Froshaug in a 1963 ‘Design’ magazine article mentions Edward Johnston as an advisor. Speculation that it was based on Johnston’s London Transport alphabet is discussed in archived government documents from 1957: “So far as I am aware, the Ministry alphabet was not based on Johnston’s design; indeed, it has been suggested that Gill got his idea from Johnston. Our alphabet was based on advice from Hubert Llewellyn-Smith (then chairman of the British Institute of Industrial Art) and Mr. J. G. West, a senior architect of H. M. Office of Works.” A 1955-57 revision of the alphabet which polished the somewhat mechanical aspects of the original may be the work of stone carver and typographer David Kindersley. For the digitisation, Rian Hughes added an entirely new lower case, italics and a range of weights. The lower case mimics the forms of the capitals wherever possible, taking cues form Gill and Johnston for letters such as the a and g, with single-tier versions in the italic. A uniquely British font that is now available in a versatile family for modern use.

The presidents busts in a typeable format. Use a Glyph palette or Character Map for quick navigation. Who knows, one day it may come in handy.