I bought a pair of green gumboots (or Wellingtons) the other day. I have a little wilderness outside and it is quite muddy, so I thought a pair of boots would be a good buy. Gumboots is a handmade comic font. It comes in a regular and a fat style and you can use it for just about anything that needs a bit of comic relief.

A modern sans serif font with a geometric and a bit of a grotesque touch. It comes in 12 weights, 6 straights and matching italics. Each weight includes extended language support (+ Cyrillic), fractions, tabular figures, ligatures and more. It has been designed with powerful OpenType features in mind. Perfectly suited for graphic design and display use. It could work seamlessly for web, signage, corporate and editorial design.

National Forest is a font duo inspired by the National Park Service signs that are all made using a router bit. It was designed to put the timeless nostalgia of national park signs into a digital typeface. National Forest has a quirky, retro style and its’ natural imperfections add to its’ charm. The script and print compliment each other well for branding, display or marketing.

We know very little about this font. A printer in Lisbon had it, but said it came from England. Nicolette Gray shows it in her Nineteenth Century Ornamented Type Faces as Lord Mayor from the British Typefoundry. We never got the complete font, but drawing the missing letters was not difficult.

Jamie Handwriting is a charming hand-script font. Its contextual and stylistic alternates makes for a typography indistinguishable from a true handwritten text. Jamie Handwriting's cute and quirky lettering fits any project or contexts that requite that extra bit of genuineness and life. It is wild and funny to look at, and its quick movements emits a happy optimism. The family consists of ten high-quality styles: The weights Thin, Light, Medium, Bold, Black as well as each style as Regular and Alternate. The different thicknesses ensures it will work in any size, and the Alt style prevents any repeating characters. Jamie Handwriting is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Cubicoola is a playful, friendly and distinctive all-caps typeface inspired by hand-drawn posters. The deliberately wide width of some characters along with the gently variated angle, creates playful combinations. A symmetrical thin stroke with rounded endings makes it modern and legible typeface. It fits on book covers, posters, labels, greeting cards, announcements, headline messages, packaging or perhaps your next project logo. Applicable pretty well to all topics for kids. Contains a total of 429 glyphs, including latin extended diacritics for most languages. Carefully tuned kerning and 18 ligatures makes it even usable for longer paragraphs. Useful in both big and small sizes. Give it a try and summon interesting and creative letter combinations.

While it is obvious that this is an ornamental style font, it is more than that: it is a Celtic Knotwork design tool! Irish, Scottish, Welsh, even Norse and Viking cultures have used knotwork designs for millenia. These ancient traditional interwoven designs are experiencing a revival as Celtic culture gains exposure in the modern world. Intricate Celtic knots are featured everywhere from jewelry to tattoos. While many enjoy them simply for their beauty and fascinating twists, they can also be used to add an air of myth, magic and mystery to any project. The interlaced lines make them perfect for wedding invitations, borders, dividers and rules, web graphics, and logos. I began using Celtic knotwork designs in my own work as part of my knifemaking and jewelry making hobbies. I read all of the books I could find about Celtic knots and at first I drew them by hand with pencil and paper. Then as I realized how nice it would be to have "undos" I switched over to using Corel Draw. Draw proved to be a natural for this type of artwork with tools like contour and the trim function. But even with these great tools, it was still tedious to create these designs. I noticed that I was able to reuse a lot of parts in repetitive sections. I developed a small library of reusable bits and chunks of Celtic designs. I found them so useful and fun to work with that I began thinking about ways to market my Celtic design kit. I thought about CDR and EPS formats, but then I thought of creating this toolset as a True Type Font. That way anyone with ANY program that uses fonts could easily create Celtic knotwork designs. Word processors, embroidery programs, engraving programs, jewelry design programs, CAD/CAM programs...almost every program can use fonts. I was also interested in CNC work and thought that this font would work well for applications such as laser etching, vinyl signs, and machining. With that in mind, I designed each character of the font with extremes of accuracy. If one character from the font is used at one inch tall, every control point will be placed to an accuracy of better than 0.0001 inch. I wanted every piece to meet exactly with the next, with no possibility for misalignment. The different styles are all very carefully created to fit accurately with each other. So the Filled Style fits exactly into the Outline Style, and the Inverse Style fits precisely around the Outline Style so as to make up the background behind the knotwork. Combining the styles allows you to have complete creative control. By assembling the nearly 200 pieces it is quite easy to produce very complex designs. It is actually a bit like playing with a puzzle and many people really enjoy putting the pieces together to make designs. In fact, I have had many customers tell me of how they love playing with this font and making knots into the wee hours of morning. If you like puzzles then you will absolutely love this font! And creating the patterns is just the beginning of the fun! If you apply your favorite Photoshop tricks on them you can make anything from dazzling chrome knotwork to carved stone. Photoshop plug-ins like SuperBladePro are great for converting knotwork text into corroded bronze or rusted iron. Use your knotwork to add texture to a virtual landscape, or add them as surface embelishments on architecture and furniture. You can also make round knotwork by using this font with "WordArt" (WordArt is included with every copy of Microsoft Word. See http://clanbadge.com/round_knots.htm for a tutorial on how to make round knotwork). For Crafters there are limitless uses for this font. It has been used for embroidery, jewelry, leatherwork, stencils, stained glass, quilting, painting, pyrography, woodcarving and lots more. We have even sold copies to monks for use in decorating handmade books!

Seconda Soft is the soft companion of Seconda. A little friendlier, a little easier on the eye, a little more informal, a little more fashionable — but still the refined and reliable Seconda. Seconda Soft’s softness comes from the moderate rounding of the edges of its characters. Seconda Soft has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features — so it’s ready for advanced typographic projects. For text and display use. When using Seconda Soft in small text sizes, it will be a reliable and legible text face. When using it in big display sizes, it will show its refined details. Seconda Soft in use: 1 2. For more information about Seconda Soft, download the PDF Specimen Manual.

Angilla Script is a tattoo inspired calligraphy typeface. It was drawn and created by Måns Grebäck during 2019 and 2020. While having a feminine flow, it has confidence, attitude and dare. Use it for a concert poster, a logotype or to give any project a bit of extra personality. It has an extensive lingual support, covering European and Asian Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Based on one of the earliest Tuscans, from Thorowgood's foundry. The original was very poorly rendered in 1822, but keep in mind that decorative types were still quite new in the early 1800s. We redrew it, but kept it recognizable.

AmpleNuSoft is a display type family derived from the AmpleNutypeface by softening the edges. It has optical mono-linear stroke and a bit squarish form in nature. It has a seamless stroke movement instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which help to elaborate and emphasize the message. It is graphically strong and commands the viewer's attention. The overall appearance of type is suitable for setting and using it as heading, title, headline, logotype, etc. The type family consists of twelve styles which include six upright weights and their italics. AmpleNuSoft has a bit more squarish counters and angles than Ample typeface, it even has straight terminals while Ample has a slight curve. In addition to this, few characters have some major or minor changes and the letter ‘g’ plus ‘y’ and their respective diacritics have alternate style variations. AmpleNuSoft is designed by Aakash Soneri during the period between 2020-2021.

AmpleNu is a display type family derived from the Ample typeface. It has optical mono-linear stroke and a bit squarish form in nature. It has a seamless stroke movement instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasize the message. It is graphically strong and commands the viewer's attention. The overall appearance of type is suitable for setting and using it as heading, title, headline, logotype, etc. The type family consists of sixteen styles which include eight upright weights and their italics. AmpleNu has a bit more squarish counters and angles than Ample typeface, it even has straight terminals while Ample typeface has a slight curve. In addition to this, few characters have some major or minor changes and the letter ‘g’ plus ‘y’ and their respective diacritics have alternate style variations. AmpleNu is designed by Aakash Soneri during the period between 2018-2020.

Spannerz is a font that is a bit of a chimera. It has the rather machined appearance of tools, particularly wrenches, from which it takes it's name, but it also possesses the characteristics of fonts used for science fiction, early era computers, and an unusual 1970's feel found in its soft, somewhat bloated, outer edges. Spannerz has a glyph count of 398 and supports the following languages Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

Sudtipos is proud to announce the release of Découpe, a display typeface program of eight fonts, designed by María Carla Mazzitelli and born during her Masters in Typography at the University of Buenos Aires (FADU-UBA). Inspired by gestural graphic expressions –like paper cut-outs (découpes) and spontaneous handwriting– from the most diverse postmodern and contemporaneous artists of the design world, Découpe has been created specifically to be used in big sizes. A little bit irreverent and effervescent from time to time, this gestural sans serif family reveals its contrasts and asymmetrical shapes when it breaks through display functions. From Light to Extra Bold, it reaches the most extreme weights, looking for power and impact. This program is meant to catch the eye in typographic compositions, to shout it out loud and clear. Definitely, to be seen. *Découpe has been recently selected to be part of different typography exhibitions such as Tipos Latinos and the Type Directors Club.

Lectores is based on 18th century chronicles of Benedictine monastery manuscript, so it is definitely oldish, rough but elegant. Thanks to many ligatures and alternate characters it is varied handwriting font. Lectores is decorative, it works nice with many occasional papers such as invitations, stationery and quotations. It is perfect not only for oldstyle and antique typography but also for modern designs.

Carpe Noctem (Latin for ‘Seize The Night’), was a bit of a surprise. Someone asked me if I could create a lower case for my Closet Skeleton font. I began working on it and lo and behold, a beautiful font started taking shape. So, if you’re in need of a slightly scary fairytale font, complete with angled edges, swirly bits, a couple of alternate - even more curly - glyphs and an alternate medieval ampersand, then Carpe Noctem is your typeface!

Random Thoughts is a selection of of quite simple handmade capital letters. They are legible, almost mono-lined, handmade and they are a bit jumpy - but never the less, they suit a headline that needs a catchy look very fine! I've included 4 different versions of each letter. One lowercase, one uppercase and two contextual alternates. These 4 different versions automatically cycle as you type, leaving your text quite random - but still very clear and legible! And, of course, there is multilingual support!

A "Petit Four" is a small, bite-sized, French pastry. The font before you is a bite-sized Hanoded original. It is hand made, fun to use and comes with a lot of calories. Like its namesake, use Petit Four sparingly and it will be the cherry on top of your design.

Geyalu is a playful display font, relaxed but still elegant, a beautiful font made with natural handwriting, making your project look natural and charming, in its application this font is really fun you can use it as a text sentence or title and it still looks beautiful, very fitting for your project that requires writing Hands that are natural and pleasing to the eye of course. This typeface is ideal for usage in a variety of unusual graphic projects, including games, book titles, outdoor activities, posters, banners, quotes, branding, and other unique projects. So, what are you waiting for? Get this font right now!

Nantua Flava XL is a display font by heart. It's preferably seen on posters or flyers. It's inspired by the Op Art style of lettering in the USA from the 1960s and 70s. But it holds also very futuristic elements so it work very well on futuristic techno party flyers and posters. Nantua Flava XLi speeds up your design. It's powerful as a Ferrari engine, strong as a steam locomotive. The very close innerforms and low contract make it perfectly suited for background patterns as well as big headline texts. The stiff little brother of this is simply called Nantua. They are a happy family.

Roswell was designed by Jim Parkinson, who acknowledges the 'spacey' ancestry of its name. Yes, Roswell, New Mexico. There was a big anniversary of 'the incident' in the news while I was designing in Roswell. "The incident" is of course the alleged UFO crash in Roswell. "I thought the name was acceptable as a serious font name, while, on another level, having a strangely humorous edge," says Parkinson. Roswell looks great in large sizes on a poster or in a magazine layout. It started out as "a variation on American gothic forms like Railroad Gothic", says the designer, but Roswell is an original design with eccentricities of its own."

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!

Many similar fonts existed in Europe around 1900 and a bit before. This one was made at the Wollmer Foundry in Germany and, except for adding the requisite modern monetary symbols and other such niceties, we preserved it quite faithfully.

Sevoya a captivating robust script font designed with fat strokes for those strong brands and logos. Featuring short ascenders and descenders making it a bit more legible. Sevoya is perfect to create outstanding headings, logos, menus, graphics, and many more applications.

Before Bodoni, there was Didot. With the publication by Francois Ambroise Didot of Paris in 1784 of his prospectus for Tasso’s La Gerusalemme Liberata, the rococo typographical style of Fournier de Jeune was replaced with a spartan, neo-classical style that John Baskerville pioneered. The typeface Didot used for this work was of Didot’s own creation and is considered by both G. Dowding and P. Meggs to be the first modern face. Three years later, Bodoni of Parma is using a very similar face. Just as Bodoni’s typeface evolved over time, so did that of the Didot family. The eldest son of Francois Ambroise Didot, Pierre, ran the printing office; and Firmin ran the typefoundry. Pierre used the flattened, wove paper, again pioneered by Baskerville, to permit a more accurate impression and allow the use of more delicate letterforms. Firmin took full advantage of the improved paper by further refining the typeface introduced by his father. The printing of Racine’s Oeuvres in 1801 (seen in our gallery image #2) shows the symbiotic results of their efforts, especially in the marked increase in the sharpness of the serifs when compared to their owns works of only six years earlier. It has been suggested that one reason Bodoni achieved greater popularity than Didot is the thinner hairlines of Didot were more fragile when cast in metal type and thus more expensive for printers to use than Bodoni. This ceased to be a problem with the advent of phototypesetting, opening the door for a renewed interest in the work of the Didot family and especially that of Firmin Didot. Although further refinements in the Didot typeface were to come (notably the lower case ‘g’ shown in 1819), we have chosen 1801 as the nominal basis for our presentation of HiH Firmin Didot. We like the thick-thin circumflex that replaced the evenly-stroked version of 1795, possible only with the flatter wove paper. We like the unusual coat-hanger cedilla. We like the organic, leaf-like tail of the ‘Q.’ We like the strange, little number ‘2’ and the wonderfully assertive ‘4.’ And we like the distinctive and delightful awkwardness of the double-v (w). Please note that we have provided alternative versions of the upper and lower case w that are slightly more conventional than the original designs. Personally, I find the moderns (often called Didones) hard on the eyes in extended blocks of text. That does not stop me from enjoying their cold, crisp clarity. They represent the Age of Reason and the power of man’s intellect, while reflecting also its limitations. In the title pages set by Bodoni, Bulmer and Didot, I see the spare beauty of a winter landscape. That appeals to a New Englander like myself. Another aspect that appeals to me is setting a page in HiH Firmin Didot and watching people try to figure out what typeface it is. It looks a lot like Bodoni, but it isn't!

A typeface named Times Gothic, which made its first appearance in the 1905 ATF specimen book, inspired this headline sans. Use it to add a bit of quirky visual interest to headlines and subheads. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

The highest and windiest mountain of Provençe is the Mont Ventoux. That is where I saw a pretty windy signpost in a very windy typeface that inspired me to design Ventoux. I recently added a Small-Caps style to it and overhauled the font a little bit without destroying its shaky appearance. Your not so windy Gert Wiescher

Shenandoah is a beautifully crafted script by Måns Grebäck, and is made for lovely, flowing and professional typography. Shenandoah has bold, crisp lines, giving it a rustic and retro effect whilst keeping it sleek and modern. This typeface and a bit of love could be used for fashion, apparel, stationary, magazines, typography, film, books and marketing!

Briko is a legible hand-crafted type family that comes in two weights. Its little bit bumpy outline and soft edges give it friendly feelings. There are two versions of Briko Family; Briko and Briko Rough(textured). Perfect for a header for an article, posters or for anything needing a legible and neat hand-written type family.

One Ton is a really chunky stencil face that sticks to some strict rules, giving it a distinctively industrial, angular look. It's designed so that the spaces between characters all align in a strong grid. It can bring a ton of personality to signage, branding, editorial and packaging projects where you can afford to be a bit experimental.

Clinica Pro is a modern take on Swiss grotesques, with a little bit of an added personality. It features 8 weights, italics, 6 sets of figures, small caps and a bunch of ligatures. Still relatively neutral, it lets a brand stand out of the grotesque-crowded environment with support for multiple languages as well as Cyrillic script.

Hi, Friend! How often do people create their own logo? I think creative people, often do it. The question remains about originality and uniqueness... When I created this font, I thought about creating company and personal brand logos. You can use it to add a little bit of originality to your creation. Good luck and love to you!

Obscura is a powerful and gritty grunge font that every designer should have in their font arsenal. Each letter has a ton of rough texture, which will add a whole new layer of detail to your design project and give it a bit more of an modern edge. Try it out for everything from album covers to food labels.

MGN Ismawan. This font was created in 2022 and was inspired by the Helvetica font. With a standard shape and being a bit wide, this font is suitable for writing, but for headlines, we think it's still OK. There are several forms of this font that have a distinctive character, which makes this font suitable for logo writing.

The Woodchip fonts are a collection of fun and edgy, worn and pitted, rough and crunchy typefaces. Styled to be comic & playful enough for children's products, yet edgy enough to advertise a dirt bike/monster truck marathon and anything in between. Sink your teeth in. It’s suitable for some interesting titling and short bits of copy.

Strijkijzer is a funfont. It originated as a joke between friends. Do not take too seriously for it. But it is complete. Download it for free and swing your iron.

Découpé Based on a French children’s play from 1906. In a car boot sale André Toet found a funny looking box containing a lot of cut out cardboard figures, in fact it looked a bit like a geometric puzzle! He played around a bit and succeeded to create a workable typeface with it ! The interesting thing about this particular font is, that in fact it’s organized chaos. The 26 letters of the alphabet are a mix between caps and lowercases, so within one word caps and lowercases will be used next to each other. It’s a very useful font for different projects. Concept/Art Direction/Design: André Toet © 2017

Inspired by a find a coarse but decorative font was created. "Fundstueck" ist the German term for it. Fonts can be so simple. That is what I was thinking as my attention was turned to this rusty piece of metal. Only a few centimeters in size, I couldn’t imagine which purpose it might truly serve. But my eyes also saw an E, even a well-proportioned E: a width to height ratio of approximately 2/3, black and fine strokes with a 1/2 proportion — could I create more characters on this basis? Thought it, did it. The form is based on a 5mm unit. The strikingly thick middle stroke of E suggests that the emphasis is not necessarily placed on the typical stroke, and likewise with the other characters. But if the font is going to be somewhat legible, then you cannot leave out slanted strokes completely. Eventually I found enough varying solutions for all letters of the alphabet and figures. A font designed in this way doesn’t really have to be extremely legible, which is why I forwent creating lower case letters. Nevertheless, Fundstueck still contains some diverse forms in the layout of upper and lower case letters. Thus, the typeface is a bit richer in variety. By the way — the “lower” letters with accents and umlauts stay between the baseline and cap height. And with that, you get wonderful ribbon-type lines.

Nutcase is a perfect example of a font that principally designed itself. I created a hexagonal template (the most economical form in nature by the way) and took out the center to increase the decorative element. I played around with it, creating some pleasing characters at first but it soon became clear it would translate into a complete alphabet, so I set to work applying the idea to both upper and lower cases. It wasn't all straight forward though, avoiding awkward characters and retaining legibility took a little perseverance but it eventually paid off. I thought of this primarily as a decorative display face but having tested it out, found it reads surprisingly well as body copy too.