»AlphaOne« is my newest addition to the experimental Alpha-font-collection. I just had to do this one! It is based on Paul Renners fonts, but has got nothing to do with them, I just took the widths and some basic forms. No – or hardly no – optical corrections were made to the glyphs. I wanted the pure geometric forms to come to life. This was a lot of fun to design, I especially like the »Q« with the negative tail. I did make four weights, but nothing is normal with this font, so weight doesn’t really mean anything. Have fun!

I work as a comic letterer for an Italian publisher. I created this font to write the Italian version of a Batman comic. We needed a style of writing that simulated imprecise handwriting that could change in letters and space. I didn't have one, so I decided to make one by myself. It is the first font created with criteria, and after having adjusted it, I propose it to you here. Valid for lettering comics, or for titles and graphic design when you need a simulated handwritten note, which is credible but still easy to manage.

I seem to be in my comic book font fase. It's not that I have tons of comics lying around (I actually have none), but when I was a kid, I used to read them all the time. Laser Eyes is a handmade comic book font. It is a little rounded, a little fat and very useful. You don't really have to put it to work in an actual comic book; it will feel at home just about anywhere. Laser Vision comes with two sets of alternate glyphs that cycle as you type, plus extensive language support, including Cyrillic and Vietnamese.

MyScript is exactly that: my script; only this one is for everybody’s use! Originally I designed it as a Christmas present for my friends and clients; they liked it. So I thought other people might like it as well. I cleaned it up just enough so that it did not lose its character. And, of course, I made all glyphs so that it is really useful as an everyday, unpretentious script. And ­I added a small cap version and a swashes version to give you even more reason to use it. It turned out a really readable script. Your scribe, Gert Wiescher

I raise chickens for eggs and meat. I usually buy fertilised eggs online and place them in my incubator, which says that it is 'fully automatic'. Of course I added that rather random introduction to tell you how I came up with the name for this new font... Fully Automatic is a handmade cartoon font: I used a sharpie pen to draw the glyphs onto rough paper. The result is a wobbly, yet quite clean cartoon font. Fully automatic comes with extensive language support and two sets of alternates for the lower case glyphs that cycle as you type.

Endgame font was made using a very, VERY bad brush and Chinese ink. I had bought a bunch of brushes some time ago and I discovered that the hairs had been treated with some goo to keep them from sticking out. The goo didn’t really come off, so when I started to draw the glyphs for this font, the brush strokes were kind of wild. In the end, I really liked it (even though I will never again buy that particular brand of brushes). Endgame is a wild brush font. Comes with the works: diacritics, ligatures and alternates.

Originally I wanted to call this font Chewy Caramel, because I love caramel. But that name was already taken, so I deleted two letters in the name and ended up with Chewy Camel instead. I know that the designer of Chewy Caramel don’t mind - because that is my good friend, David, who made that one! :) Chewy Camel was made with a slightly blurry and inky pen, and is suitable for most things that need a true organic hand lettered font. I have added 6 slightly different versions of each letter, and there is multilingual support as well

I love blueberries. When my brother and I were young, we used to pick them in the forest by the bucket. Afterwards, we’d always look like victims of a serial killer, but it was all worth it, as nothing quite tastes likes homemade blueberry jam. I don’t know why I named this cute little font Blueberry Jam. Maybe I was craving some… Blueberry Jam is a highly legible, extremely cute and very handmade font. It would look good on just anything, but book covers, product packaging and homemade jam labels come to mind. Blueberry Jam comes with a bucketload of diacritics.

I remember that my auntie once made a dish called ‘Macaroni and Smac’. It consisted of little ‘elbow’ macaroni, Spam (which in Holland was called Smac), cheese and ketchup. I am sure it didn’t contain on of your five a day, but it was delicious. As far as I know, I have eaten it only once, but it did make a lasting impression! Biscuits & Spam is a handmade ‘Western’ style font, which I found in my ‘unfinished fonts’ folder. It comes with multilingual support, a full set of alternates for the lower case letters and a really happy vibe.

My handwriting with a speedmarker turned into a font - well, not really, to be honest! Personally I did do all the writing of letters, but in order for the letters to fit perfectly together, I manipulated them - just a tad! But the result is a hasty set of letters! When I say I wrote all the letters, I mean it literally!!! All letters are unique, meaning all the accented characters are unique! On top of that, Laxory comes with ligatures for both double lowercase letters and numbers! You will need to use OpenType supporting applications to use the autoligatures.

I have always had a keen interest in forging; I used to be a silversmith, and I love working with metal. Some time ago I forged my first axe (a skeggøx or bearded axe), sharpened it and fitted it with a handmade ash handle. It isn’t perfect, but it is my first ever forged axe and I’m pretty proud of it. All of this went through my head when I started drawing the glyphs for this font. And to be honest, I couldn’t find a more suitable name for it! Bladesmith is a handmade font, forged in fire (haha). It was actually made with an old sharpie. It is a rough and ready font, quite suited for headlines, book covers and posters.

I only had this bouncy curve and a photograph of a daily menu (Truite Meunière) I took outside an obscure Paris restaurant when starting the design of this font. But while working on it I suddenly started thinking about Jacques Tati the famous but almost forgotten french director of Les Vacances de Monsieur Hulot, Jour des Fêtes, Mon Oncle, Playtime, Trafic etc. I thought about his bouncy walk and his hilarious ideas. The memories never left me while working on the font, so I decided to name the font after this great French moviemaker who gave me so many happy hours. Since Tati was a very funny character, I gave my characters a funny price. Thank you Jacques Tati, yours Gert Wiescher

Back in the nineties I had a deck of Tarot cards. It was part interest and part curiosity, but I also liked the look of them. My readings were just for fun; I thought it was all a joke, but when people started to return for more readings (because what I had predicted actually happened), I quit. That was way out of my comfort zone! Fortune Teller is a nice brush font. I made it with one of my late father in law’s Chinese brushes and ink. It comes with all diacritics and a set of alternate glyphs. If you buy this font, you will meet with a tall and handsome stranger and you will win the lottery. Guaranteed! Haha!

When did it start. One day I was designing some stuff for a fast food café. By style the Café was made as an old Soviet canteen. So I had to do a special accent on this in menu, advertising posters and other print products. I decided to do this by interesting old school font. There are many cool retro fonts on the Internet, but not one of them satisfied me on 100%. The next step was to look at the old posters and find some inspiration. So I found some cool pictures with exact letters that I needed, but there were no typefaces to buy so that I can print some text with this exact letters. That's why I decided to do such typeface for my own. You can use this typeface in the field of nutrition, and it also will suit for cinema posters.

The year 2022 went and 2023 came. I can honestly say that last year was a horrible year and I am happy it ended a couple of days ago. The first week after New Year’s Eve always fills my head with the U2 song ‘New Year’s Day’ - so I named this font after a line from the lyrics. I also happened to watch a fantastic movie called ‘Im Westen Nights Neues’, directed by Edward Berger, but based on a book by Erich Maria Remarque, which, in English, was published as ‘All Quiet On The Western Front’. So there you have it: naming a font in 2 easy steps! ;-) All Is Quiet is a lovely brush font, which I created using my father in law’s Chinese pencil and ink. I can suggest some uses here, but I am convinced you can come up with that yourself.

This typeface came out as a side idea while I was working on one logotype. Suddenly I came up with an idea of creating “tuned” version of the typeface, based on that logo. The “tuning” turned me in a completely different direction and in a few hours of haste I was looking at a completely different typeface. A few days later I made this font available for free, since it wasn't meant to be at all :-). A few months later, I saw my typeface used in the menu in one pizzeria. I was amazed and glad and happy and proud, all at the same time. Oh, by the way: the logo I was working on was of different style and even of another stem’s widths. So, this is truly a font of it’s own design. Naftalin has both Latin and Cyrillic sets, since it was used with both.

When I was a kid, I loved the story of The Boy Who Cried Wolf. I thought it was pretty stupid of the boy to trick the villagers into believing wolves are attacking his flock of sheep. But I also thought it was a bit sad that the sheep are eaten by a wolf in the end. I didn’t really feel sorry for the boy (he really was stupid), nor the wolf (he just does what he is supposed to do in life), but I did feel sorry for those poor sheep. I guess this is what disinformation leads to in the end. Cry Wolf is a bit of a scary font: it was made with a really old and battered brush, using Chinese ink and some quality French paper. It has a slight tilt to the right and I added some inky splatter for dramatic effect. Use Cry Wolf for your book covers, product packaging and headlines; use if to spice up you invitations and your halloween posters. Comes in a slightly tilted Regular style and an outright Italic style.

Alimentary (adjective): relating to nourishment or sustenance. If you've seen my other fonts, you know I tend to lean into food-based names. This name has to do with food and science combined, so it's double nerdy in the ways I like to be nerdy! I started with Alimentary Medium, which was inspired by my shorter, wider font MacGuffin - I wanted something taller, narrower, with a hip and retro feel. When I finished the Medium weight, I felt like I wanted a Light weight. Then a Heavy weight. Then I figured, "what the heck," and made an outline version of the Medium weight too. In the end, I wound up with four members of the Alimentary family, each with over 700 glyphs! Not only do they all have the basics (A-Z, a-z, 0-9, and tons of punctuation), but they also each have 330 characters for European language support, and a limited selection of Greek, Coptic, and Cyrillic characters. Plus a double handful of alternates and ligatures to add a little variety to your designs! And of course, all of the Alimentary fonts are super-smoothed, with reduced nodes and clean curves, so whether you're cutting them out, printing them, engraving them, or using them in a way I haven't even thought of, these fonts will be sharp and crisp!

Boom. You asked for more, um, well just ‘more’—more swashes, more options, more weights, more of everything. I cannot give you more weights. The design just won’t allow it and anything else would be a compromise or a bastardization of the exemplars just to make money that I am unwilling to do. But, I did give you an overly indulgent, 90% cacao bar and espresso, Lust Script Fine. The ending strokes on these glyphs will literally draw blood. Enjoy it as much as I have. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

English Script is the classic Spencerian English script. I always wanted to do one of these; now finally I did. Your classical designer Gert Wiescher

I finally managed to create a font from the characters I wrote on my Etch A Sketch board. A bit grungy, but definitely something else.

Inspired by bold and rounded typefaces on signs from the 1970s, Salsiccia can promote both your hot dog stand and your international toy store enterprise. Its boldness and roundness is combined with classical proportions, with wide letters — like the O — next to little nubby ones — like the T. This not only looks nice, but helps us even out the white spaces across words and sentences.

In the middle of 18th century Leibniz Fraktur appeared in German print shops. This blackletter font with its great x-height preserved the then fashioned trunk in many of its uppercase letters. It was a cast font of Genzsch & Heyse, Hamburg. Leibniz Fraktur contains a bunch of useful ligatures, and by typing 'N', 'o' and period plus activating the Ordinals feature you get an oldstyle number-sign.

Hoyer Script™ is a fresh redesign of Hans Hoyer’s Schoenschrift, a slender vintage italic with a calligraphic touch. This font should be used like my blackletter fonts. It means that the s-key is occupied by the long s, and the round s lies on the #-key. By typing N, o, and period plus activating Ordinals feature you will get an old-style number sign.

Bernhard Blackletter can be compared to a tuba, adding its deep bass sound to the orchestra of blackletter fonts. This font contains a bunch of useful ligatures, and to access all, it is recommended to activate both Standard and Discretionary Ligatures. You find the round s on the # key, and typing the combination N-o-period and activating the OT feature Ordinals gets you the numero sign.

A neat, feminine handwriting with a few unique notes- the lowercase e and g, for example. This is both legible but has enough flavor to be a believable handwriting font.

Mindline Script is a unique blend of classic modern calligraphy font with contemporary, sophisticated accents. It is perfect for wedding, event, invitation, escort card, table number, header menus, display, logos, slider blog, custom address, stamps, packaging, greeting card, etc. Mindline Script comes with a complete set of standard characters, eastern diacritic symbols, consist 505 glyphs in total. The alternative characters were divided into several OpenType features such as Ligature and Stylistic Sets. You can create an attractive message by using the alternate characters in your design. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. This font support Latin Pro accent letters of Central Europa, Western (À Â Æ È Ë ã ä æ è...) Thanks and have a wonderful day!

Hadron is a fusion of gothic black letter and foundational letter forms. It has a heavy flat pen influence but is combined with more modern letter forms for increased legibility over that offered by black letter fonts. Unlike most black letter fonts, Hadron can be set all caps using the first level of caps. A basic design kernel based on the caps “O” and “H” was created first. These letter forms consist of an interplay between curves and straight lines with abrupt transitions and also possess some of the geometric crispness of a modern sans serif. The rest of the Hadron font was developed around this “O” and “H” kernel. This font could be used for any application requiring a formal black letter or foundational lettering look. Hadron could also be used for invitations, brochures and posters. The first level of caps and lower case is basic enough to set a large body of text. It could also be set all caps at that level.

This set of initial decorated letters is an entirely original creation, drawn inspired by Italian renaissance engraver Vespasiano Amphiareo's paterns published in Venice circa 1568. It contains two roman alphabets : the first of large Initials, the second of small caps. Both containing thorn, eth, L & l slash, O & o slash. It can be used as variously as web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font... This font is conceived for enlargements remaining very smart and fine. The original height of the initials is at least about one inch equivalent to about four lines of characters, small caps may have the same height than the caps of the font used with, but cover two lines is better. This font may be used with all GLC blackletter fonts, but preferably with "1543 Humane Jenson", "1557 Italic", "1742 Civilite", "1776 Independence" without any fear for doing anachronism.

Noma is a new wide-set display font with a minimal geometric style. I designed Noma because I wanted a tech-inspired font that has plenty of character while remaining legible. Noma is a great choice for high-impact headings and logotypes. I hope you enjoy, thanks for checking it out!

Mandolin is a handmade 'Didone-ish' font with a bit of a rough edge. Mandolin was created using a wonderful (and expensive) pen I found in Canterbury, England. I am aware that this information isn't too relevant, but I thought I'd share it with you nonetheless… Mandolin comes with all diacritics.

It is a Latin-based Greek font that I developed by taking the typography used in ancient Greek monuments and inscriptions in cities in the Aegean region of Turkey as an example. I am working on the Latin font of this model. Karamanli version is finished, I will upload it soon.

It's font created for posters, ads, websites. I created it when I designed a poster, then later realized that I very often need such a letters so decided to complete all of the characters. It's distinctive, spacious, hand made with narrow kern. Have more then 400 characters, smallcaps and text figures.

As you can see, Nefertiti is a font based on ancient Egyptian hieroglyphs and could be classified as a fun-font. I've always been really interested in Egyptology and a couple of years ago I thought it would be great to be able to write in hieroglyphs. I started to study them but soon realized it would take me a long time to be able to do this. Still, I was determined to find a way around this problem. At some point I came up with the idea of rearranging and reforming the hieroglyphs so as to resemble the English alphabet. During this process I tried as much as possible to preserve their ethos and appearance. However, since they are designed to write in English with, it's obvious that they are not always going to look like the real thing. Despite this, I'm really happy with the final result and I think many Pharaohphiles who just want to have some fun will be also. The only difference in this font between lower and upper case characters, is that the latter are set between two parallel, horizontal lines. These are for use with brackets (motif ends) to form cartouches - elongated ovals for names and/or titles. Try typing the following using the upper case in the sample text box. e.g. (JOHN} The zigzagged vertical lines at each end, separate the motifs from the hieroglyphs. Note the three types of ends/brackets. These lines are also used to separated words from one another and to give a more authentic appearance. So pressing the space bar gives a zigzagged line - not a space. They can also be used at any point within a cartouche to separate first and last names or titles. e.g. ; (JOHN;BROWN} walked straight home after work. Notice the eye glyph (period/full stop) at the end of the sentence. This is the only punctuation mark which can be used within a cartouche, e.g. after Mr. or to add a more Egyptian appearance to a name or title. e.g. (MR>;JOHN;BROWN} Parallel lines dividing hieroglyphical inscriptions and writing into rows or columns are very common. To incorporate these in a body of text, simple use the underline U. e.g. (OSIRUS) and {ISIS} were important gods of the ancient Egyptians. (HORUS) {HATHOR} and [RA],the sun god, were also highly revered deities. The punctuation marks available are shown below. . , " " ' ! ? "where is the king?" The font also includes the numbers 0-9, the following mathematical symbols and the hash sign(Scarab beetle). Once again, I've tried to make them look as Egyptian as possible; whether I've succeeded or not is open to debate. e.g. + - x / = # This font is named after Akhenaten's beautiful wife, Nefertiti, who's image can be seen in the graphic on this page.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Candycorn Overdose represents how I used to feel on the morning after Halloween, way back when I was young enough to go out begging for candy.

This is what my good friend and painter Vincent’s handwriting looks like. I have put in a couple of ligatures and I hope you like it.