Heart Doodles Too is the follow up font to Heart Doodles . This one is a bit fussier and fancier and more detailed. 41 hearts for all your Valentine and Wedding needs.

Really excited to introduce Caustin Bolar is a bold brush script and will be perfect for all your designs project. Uppercase Lowercase Number & Symbol International Glyphs Ligature Hope you enjoy it.

Schwarz is a Black Letter typeface inspired by all that is black. Jagged edges and sharp diagonals make Schwarz a head banging font. Some stylistic alternates and ligatures are also available.

Medium Roman is an engravers, all-capitals font for invitations and stationery. Particular characteristics of the Medium Roman font are the tail on Q and the spurs on J and U.

Kamelyn is a cute and simple lettered handwritten font that can be used for all chalkboard quotes or teaching material! Its authentic look will add a realistic feel to your designs.

Michael Hoffmann manufactures digital fonts for 30 years. At URW++ he contributed to the technological progress. Over the years, he also specialized in the ideal representation of fonts on screen and the complex assembly of international fonts with scripts of all countries. In his latest project he put the emphasis on developing a highly readable typeface. Less interested in the design as in the functionality of this typeface, he designed Arsapia which he has now installed as a system font on all his computers. Michael Hoffmann studied Japanology at the University of Hamburg and traveled in the early years of his professional activity frequently to Japan, there to train the IKARUS font production tools to Japanese customers. In his spare time he plays guitar or golf depending on the weather. The typeface Arsapia has been designed in such a way that all three font styles Light, Regular and Bold have the same width. When a user therefore opts for the use of Arsapia Light, even though he has already written his text in Regular, nothing changes with respect to the letter tracking. When choosing the Bold for emphasis: Nothing changes except the blackness of the letters. A font change does not engender unwanted line and page breaks of itself. All letters can be clearly distinguished from each other. 1 l I O 0 are all different. For programmers and lovers of monospaced fonts Michael Hoffmann has developed a fourth typeface: Arsapia Mono. This is the perfect terminal font.

Dick Jensen (USA) designed Serpentine, is a contemporary-looking display font, for the Visual Graphics Corporation in 1972. With the rise of digital typesetting and desktop publishing, this typeface quickly became both popular and ubiquitous. This dynamic, wide, boxy design is identifiable via tiny triangular swellings at the stroke endings - what might be called semi-serifs. Serpentine is available in six different font styles: Light, Light Oblique, Medium, Medium Oblique, Bold, and Bold Oblique. Serpentine" is a greenish rock that sometimes resembles a serpent's skin, and is often used as a decorative stone in architecture. Though this font doesn't seem at all snaky or sinuous, it does have an architectural, stone-like solidity. The subtle, almost non-existent curves and semi-serifs keep it from being too stern or cold. Although the underlying strokes of each weight are similar, the six members of the Serpentine font family all present their own individual personalities. Serpentine Light lends itself well to text for onscreen displays, for instance, while the numbers from typeface's heavier weights are seen around the world on soccer jerseys! Additionally, the oblique styles convey a streamlined sense of speed, furthermore lending Serpentine well to sport and athletic applications (especially the faster, high-speed varieties). Because of its 1970s pedigree, Serpentine has come to be known as a genuine "retro" face. This makes the typeface even more appropriate for display usage, in applications such as logo design, magazine headlines, and party flyers. If you like Serpentine, check out the following similar fonts in the Linotype portfolio: Copperplate Gothic (similar serifs) Eurostile (similar width) Princetown (another "athletic" font) Insignia (similar "techno" feeling)"

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many rasterised fonts, I wanted to take it to the extreme and use as few dots as possible. The result is a typeface that lives up to its name. Each individual circle makes no sense on its own; individual letters are only recognisable in the context of all associated circles, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from a higher building, an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit increments to keep the grid. The numbers in the family- and style-names refer to the (ca.) grey value of the respective background and the font itself. Kontext Dot 00-33 has e.g. a white background (0%) and 33% grey value. Kontext Dot 66-33 has a 66% background and 33% grey value. »Positive« styles (first number smaller than the second number) have kerning, »negative« styles (first number bigger than the second number) can have none.

«Envelove» is the brand new typographic challenge handwritten by Yani Arabena and designed along with Guille Vizzari and Ale Paul, for Sudtipos. It all started as a game for Yani. A carefree and spontaneous calligraphy, making use of the pointed nib with black ink, exploring its expressive possibilities pressing against paper. With time that nib turned into her dearest tool to flow through her writing, breeding this particular style of hers that let her trespass the barrier that kept personal and professional passions apart. All that inspiration is present in «Envelove», a play on words that reflects the love of letters. An expressive free-and-easy typeface that follows no formal calligraphic model and lets itself go with the meaning of words, rhythm and sensations. «Envelove» successfully joins three different fonts, «Envelove Script»—free, spontaneous and unique of its kind—going together with «Envelove Caps»—an uppercase style that builds controlled but dynamic words thanks to its alternates and ligatures, and to its own true Small Caps set as well—and «Envelove Icons», ideal to decorate and bring to life any written message. «Envelove» encourages you to write as if you have a nib, ink and an envelope. It invites you to take part in other worlds like a magic cocktail, a summer night, a long-awaited reunion, a first dance, a dish cooked with your own hands. The fashion world, gourmet, stationery, scrapbooking and everyone where a Handmade or Handcrafted feel is craved for, save a special place for «Envelove». (The illustration series that are shown with «Envelove» were made by the incredible Argentine illustrator Eugenia Mello.)

I wanted to create a "handwriting" font which could be used professionally. I have often needed such a font with a variety of weights and styles for a particular project and have had to resort to mixing fonts, creating a rather messy, amateur job. Camy is named for a little village in South West France where I did much of the initial work on this font. Camy is ideal for contemporary display work, comes in ten styles, and has a contemporary appeal with its casual, easy to read letters. Camy was designed as a total professional package for designers looking for a handwritten font suitable for all kinds of contemporary display work: the idea being that once you have the Camy Professional Pack you don't have to waste time searching for other handwritten fonts. The Family: LIGHT -- NARROW - light weight, condensed width, delicate line -- MEDIUM - light weight, delicate line -- WIDE - light weight, expanded width, delicate line NORMAL WEIGHT -- NARROW - of medium weight and condensed width - perfect for limited space -- MEDIUM - of medium weight -- WIDE - of medium weight and expanded width BLACK - for best readability -- NARROW - condensed width for bolder statements in small areas without losing legibility -- MEDIUM - for bolder statements -- WIDE - expanded width for bolder statements FAT -- WIDE - for maximum impact Use a combination of styles for product branding, book covers, invitations, greeting cards. The Camy combination works well for both headings and body text. Camy contains over 250 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

☞ Bona Nova is a collective revival project of Bona typeface designed in 1971 by the author of polish banknotes Andrzej Heidrich. Besides giving the project a digital font form the aim was to expand the base character set: preparation of small caps, designing the alternative glyphs and multiple opentype features. Working together with the author we designed two new text versions: regular and bold – to give the family a form of a classic script triad. ☞ It is accompanied by three title versions and three contour styles under the name of Bona Sforza. All styles contains over 1200 glyphs. ☞ Bona Nova is an unprecedented typographic adventure for our team. We hope that our work will allow the cultural heritage of Bona and the work of Andrzeja Heidricha to gain new followers and fans. This project connected three generations of graphic designers who graduated the same school – the Academy of Fine Arts in Warsaw. ☞ Bona Nova isn’t only a typeface. We have also prepared a book about the project (including an interview with Andrzej Heidrich, my text about the digitalisation and a font specimen). The Bona Nova release party was a big exhibition (over 1000 guests). I’ve invited 26 graphic designers to prepare their own initials of Bona Nova – they were presented as posters on exhibition too. LINKS Bona Nova WEB Bona Nova FP Bona-Nova-(FREE-FONT) Bona Nova Book BONA NOVA IN THE MEDIA Typeroom Typography Guru Slanted Designalley Stgu Typografie Info Wikipedia Bona Nova is a non-profit project, all founds that we raise we reinvest to develop the Bona Nova project (new styles, Cyrillic & Greek, extend character set).

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Gemma was born in Madrid 37 years ago. After spending many years in the capital, she decided to start over again and moved to Barcelona. A series of misfortunes and wrong decisions left her on the street. Gemma is a calm, emotional person who likes to take her time to do things and, if there’s one thing the street can offer, it’s time. The street lets you listen carefully, watch without being seen. Being in the street isn’t pleasant at all. Seeing people who’ve just showered go past makes you miss even more things that many take for granted. Breakfast, a clean smell, paying for a metro ticket. Being homeless is much more than having nowhere to sleep. Life in the street is hard, says Gemma, but she also sees the positive side. “It’s the best way to get to know human beings.” She likes to see the street as if it were a school. A school she has been in and out of for too long.

Torcao is one of the sporks of the font universe, a useful and functional outlier. Half square, half circle, this uncommon squircle of a family with its asymmetry of curved and angular shapes drives through headlines and body copy with forward velocity. The robust, technical appearance is light-hearted and inviting, and its organic nature plays off of its one-of-a-kind kinks and hybrid forms. Torcao is not merely an experimental font, though. The figures have been crafted and refined into a functional, hard-working typeface that lends itself to many sizes and environments. The font family features a tall x-height and light modulation, which give the typography its unique color highly effective in headlines but still quite legible in longer text. This family contains a comprehensive range of nine weights--slender to black--and features condensed and extender selections for a complete set of forty-eight fonts. The font has been decked out for experienced typographers, together with swash alternates and simplified titling. The typeface also contains a range of numeral sets, together with fractions and old-style figures. OpenType-capable programs including Quark or the Adobe suite allow quick changes to ligatures and alternates. Previews of these options can be found in the .pdf brochure. Torcao also features the glyphs to enable all Central, Eastern, and Western European languages. In all, the font supports around forty languages that utilize the prolonged Latin script, making it an excellent option for multi-lingual publications and packaging. Simple, technical, and open, the Torcao type family could just be the perfect choice for your web type or print project.

The Swiss typewriters were famous for their unique precision. As complex digitalizations and macro shots were a start for the inspiration and studies, each character has been carefully re-crafted from the ultra high def scans of the printouts made on a special bleed-proof paper. Today’s characters such as @, euro sign and most of accents have been crafted according the original alphabet design. The idea was to digitize and keep a saving of the original typewriter including all its functions (e.g. underlining key) . It’s surprisingly very legible at small sizes. Thanks to an x-height tighter and more spaced, a glyph design less detailed and more neutral/simple than other fonts found on american or italian typewriters. The final artwork can be set at very large sizes due to the highly detailed glyph design. Swissa Piccola Regular is loaded with more than 150 glyphs created with the typewriter to avoid letter repetition in a word. This OpenType feature can be accessed through the 'discretionary ligatures' option. Plus it comes with two stylistic sets : one with an original underlining feature, another with a slashed-x feature. In which all characters are unique and also have been originally typed with the typewriter. It contains more 600 glyphs in total. The two features are separated in another two fonts (Swissa Piccola Slashed x and Underlined) in case a non OT-savvy app is used. If you wish to obtain exactly the same prints as the original Swissa Piccola typewriter, you should set your font at 11.3 pt and 19.5 pt of line spacing. The Swissa Piccola font was originally offered in a dedicated limited edition packaging.

Follow us to the future. It is in your face. It is fashionable. It is friendly. It is fly, far-out, funkadelic, fun. But first of all, the future is fast and full. Named after the most famous Canadian rock group of all, Rush is a typeface that wants your full attention. It is square like a bodybuilder's jaw, round like a football player's muscles, and tight like an abdomen after a thousand sit-ups. It gives you plenty of attitude. It commands your respect and lets you know that if you've been thinking of giving up on macho in this brave new world, think again. It tells you that everything has an underlying engine, that every engine hums clockwise, that adrenaline is the name of the game, and if you don't like it, get your sensitive self back to your silly scripts. Rush comes in two fully interchangeable variations: Rush One and Rush Two. While Rush Two is the somewhat predictable, determined pedal-to-the-metal contemporary brute, Rush One is sharper, smarter and more sophisticated in the way it affects a design. While Rush Two's message is a straight-forward one of strength and speed belonging in an overall design, Rush One calls attention to itself first then turns on the wonder about everything surrounding it. Expertly mixing shapes from both fonts in the same word or line can achieve just that perfect form a design needs for its message. Such flexibility and distinction in character design and degree of message relay makes Rush the perfect font package for any design that has anything to do with speed, strength, and proud pursuit of adrenaline.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Luis Serra was born in Alicante. There he grew up and even started a family His life was there. But at the age of 35 he split up with his wife and decided to go to Barcelona in search of a new life. And it wasn’t easy for him. He had to turn his hand to all kinds of jobs and didn’t manage to find the stability he needed. Luis is a shy, retiring person who takes great pleasure in the little things in life such as walking in the mountains or celebrating the victories of his football team, Barça. After four years living in Barcelona, Luis found himself in a position he’d never imagined. “The street’s much worse now, there’s more trouble, there’s more tension,” says Luís. In the street he had to learn, as he always had, to move fast, to find a place to sleep and something to eat. Luís is one of those people who don’t let circumstances mould him, but adapts to them and always tries to do his best.

Dick Jensen (USA) designed Serpentine, is a contemporary-looking display font, for the Visual Graphics Corporation in 1972. With the rise of digital typesetting and desktop publishing, this typeface quickly became both popular and ubiquitous. This dynamic, wide, boxy design is identifiable via tiny triangular swellings at the stroke endings - what might be called semi-serifs. Serpentine is available in six different font styles: Light, Light Oblique, Medium, Medium Oblique, Bold, and Bold Oblique. Serpentine" is a greenish rock that sometimes resembles a serpent's skin, and is often used as a decorative stone in architecture. Though this font doesn't seem at all snaky or sinuous, it does have an architectural, stone-like solidity. The subtle, almost non-existent curves and semi-serifs keep it from being too stern or cold. Although the underlying strokes of each weight are similar, the six members of the Serpentine font family all present their own individual personalities. Serpentine Light lends itself well to text for onscreen displays, for instance, while the numbers from typeface's heavier weights are seen around the world on soccer jerseys! Additionally, the oblique styles convey a streamlined sense of speed, furthermore lending Serpentine well to sport and athletic applications (especially the faster, high-speed varieties). Because of its 1970s pedigree, Serpentine has come to be known as a genuine "retro" face. This makes the typeface even more appropriate for display usage, in applications such as logo design, magazine headlines, and party flyers. If you like Serpentine, check out the following similar fonts in the Linotype portfolio: Copperplate Gothic (similar serifs) Eurostile (similar width) Princetown (another "athletic" font) Insignia (similar "techno" feeling)"

Designed by Cosimo Lorenzo Pancini and Maria Chiara Fantini with the help of Solenn Bordeau, Erotique Sans is the sans serif version of Erotique: a typeface that evolved the original design of Lovelace mixing its romantic curves with the glitchy & fluid aesthetic of trans-modern neo-brutalist typography with the aim of creating a design that was feminine in an assertive and self conscious way. With its restrained, didonesque elegance, Erotique Sans is mostly thought for display use. Its high-contrast design is ready to take center stage in projects where a subtle elegance and an edgy, contemporary touch are required. All its weights (regular, medium, bold and monoline) have been paired with an Alternate version to give immediate access to a wide array of exotic alternate letterforms, available as Open Type Stylistic Sets in the standard family. For logo design and titling use Erotique Sans is paired by Erotique Flourishes, a set of whiplike fleurons that can not only be added to some letters, but also be used as interlocking patterns. For editorial use, since its high contrast requires big text size, the family is complemented by the Erotique Text weight that allows for longer text typesetting thanks to streamlined design, lower contrast and better readability. With a character set of over 500 glyphs, all the the weights of Erotique cover almost 200 languages using extended latin, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Swash and Case Sensitive Forms. If you liked Erotique, you won't be able to avoid falling in love with Erotique Sans - the font that can't keep its serifs on...

Lythmore This font is called Lythmore and is inspired by Lithos. Lithos was originally designed for Adobe by Carol Twombly in 1990, based it on the lettering from ancient Greek inscriptions. The Capitals are similar in feel and design, but is totally original and built from scratch. It is designed to be similar intentionally, but it is not a clone or rip off. Lithos is an example of a simple blocky san serif font style, with subtly concave sides, angled ends, and off centred curves. Lythmore is also an example of that same style. But is also different in places where I felt it could be improved. And it has a complete lower case set, which Lithos doesn't. I built Lythmore with 8 different weights. Lythmore can be very effective when used in advertising and general display work, but it can also be used for much more. Although it was never designed to be body copy, when used as such, it is still perfectly readable and adds its own version of sans serif style and flavour. I have included two versions of the Lythmore family. Lythmore A and Lythmore B. In the Lythmore A family, the lighter 4 weights all vary in weight in both the horizontal and vertical axis. The heavier 4 weights all vary in the horizontal axis only. In the Lythmore B family, the transition is even in both directions across the entire family. The result of this difference is that the A and B versions difference is most noticeable between the Regular and Medium weights. While the extreme ends of each family version are virtually identical.

Take your typography to the next level with Super Sabretooth. A vigorous, rebellious brush font designed to bring the noise, start the fun, and leave any inhibitions at the door. It pushes lettering limits to the extreme and breaks down any boundaries on it's journey there. Super Sabretooth is packed full of great features & added extras, providing everything you need to create highly charged typography designs. Here's what this family consists of: Super Sabretooth • A high energy brush font containing upper & lowercase characters, numerals and a large range of punctuation. Super Sabretooth All Caps • This is a second version of Super Sabretooth, with all lowercase characters replaced with a brand new set of small-caps. Use this font as a larger & louder alternative to the regular version. Quick Tip! If you want more freedom, you can combine the two font sets together to create truly awesome customised typography, they will work in harmony as well as being strong standalone fonts. There are no rules with it - play around, mix it up, have fun, and enjoy the ride! Super Sabretooth Swashes • Still looking for even MORE features? Alrighty, check out this extra font containing 17 swashes and 9 paint splatters, designed to add the perfect finishing touch to underline & exaggerate your Super Sabretooth lettering. Simply type any a-z character in this font to generate the extras. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Turkish, Polish, Finnish, Romanian, Hungarian, Estonian, Filipino, Indonesian, Icelandic, Romansh, Welsh Thanks for checking it out, and remember: Push the Limits.

After months of testing and development, we have managed to put together the Brandogram Typeface, an ultimate tool for monogram design. With the help of this typeface you can easily create a monogram in less than a minute. Thanks to the way we have created and optimised Brandogram, the uppercase letters effortlessly fit together with the small caps that are activated by the lowercase letters. Using the Brandogram typeface you can create unlimited monogram combos with 2, 3 or even 4 letters in some cases. And these are all possible thanks to features like: Multiple letter widths, from condensed to wide; Both sans serif and slab serif letter designs; Up to 24 different designs per letter; All letter variations are available as alternates so you can easily choose your favorite; Accents are available for each letter alternate; Uppercase and lowercase activated letters are constructed to perfectly center and middle align; There are 5 solid ready-made weights; There are another 2 stencil weights that can bring a new touch to your designs. The 7 weights of Brandogram Monogram Typeface: Thin Light Regular Medium Bold Stencil One Stencil Two Each of these weights are thought to express different levels of heaviness. The thicker the weight of the font gets, the less white space will be left between the letters when they are combined, therefore your design gets heavier. The role of the stencil weights is to create depth in the monogram designs. With those you can easily delete the extra overlapping shapes of the letters and create passages between the letters and give an interlocking impression. This typeface combined with your creativity can have no limits!

The hand lettered credits from the 1950 Humphrey Bogart film “In a Lonely Place” inspired the digital version called Screenwriter JNL, which is available in both regular and oblique versions. The font was named after the profession of the main character (Dixon Steele) who was a Hollywood screenwriter.

Yellow Peas is a geometric sans serif typeface that comes in 5 different weights. Contains Western and Eastern European languages, Vietnamese accented characters, Russian Cyrillic and Thai character set. Yellow Peas is a clean and modern font with stylistic alternates, standard and discretionary ligatures. Also includes Small Caps feature.

The common Slavic word Osnova means basis in English. This universal but still distinctive typeface can make a good foundation for any design project. There is the main Osnova version and separated faces Osnova Alt, Osnova Fancy and Osnova Small Caps for Western Latin, Greek and Cyrillic languages.