Ice Creamery is a new variation of our Saloon Girl font family complete with italics and fill fonts which may be used to layer different colors into the open parts of each glyph. We don’t recommend using the fill fonts for Ice Creamery as stand alone solid fonts, Ice Creamery Chocolate was designed as a the stand alone solid font for this font family. Fill fonts go back to the 1850's where they would design matched sets of printing blocks and the layering of colors took place on the printing press, they would print a page in black then on a second printing they would print a solid letter in red or blue over the letters with open spaces to fill them in. Most of the time the second printing didn't line up exactly to the open faced font and it created a misprinted look. With the fill fonts in Ice Creamery and other FontMesa fonts you have the option to perfectly align the fill fonts with the open faced fonts or shift it a little to create a misprinted look which looks pretty cool in some projects such as t-shirt designs. I have some ice cream making history in my family, my Grandfather Fred Hagemann was the manager of the ice cream plant for thirty years at Cock Robin Ice Cream and Burgers in Naperville IL. In the images above I've included an old 1960's photo of the Cock Robin Naperville location, the ice cream plant was behind the restaurant as seen by the chimney stack which was part of the plant. If you were to travel 2000 feet directly behind the Cock Robin sign in the photo, that's where I started the FontMesa type foundry at my home in Naperville. My favorite ice cream flavor was their green pistachio ice cream with black cherries, they called it Spumoni even though it wasn't a true Spumoni recipe. Their butter pecan ice cream was also incredibly good, the pecans were super fresh, their Tin Roof Sundae ice cream was chocolate fudge, caramel and peanuts swirled into vanilla ice cream. One unique thing about Cock Robin and Prince Castle was they used a square ice cream scoop for their sundaes.

The Catalpa font family is José Scaglione and Veronika Burian’s wood type inspired design for an overwhelming headline presence. It has no regular weights, only four slender and four hulking weights. Catalpa wasn’t made to be normal; it was made to overwhelm, to stand out, to bellow. Catalpa is the first font family within a trilogy that will be released through 2020. Each of the three have a distinct purpose and their own look, but they serve a common goal: to act as a complete family covering an editorial’s wide array of needs. As the first of the three, Catalpa is the bookend font family with a headlining purpose. What requirements are there for a great headline typeface? Distinction, weight, and cohesiveness are a good start. Its distinctiveness must catch attention, it must have a range of weights applicable to its purpose, and its internal consistency and external look must create a cohesive family. Catalpa is a distinct and unified family whose weights are attuned to its single-minded purpose — headlines and large text. Catalpa has only eight styles that are divided into two ranges of weights — four very light weights (Hairline, Thin, Extralight, and Light ) and four very bold ones (Extrabold, Heavy, Black, and Extrablack). The thin and heavy ends of the spectrum also have their own variable fonts, each with one axis of weight so designers can fine-tune their work. The geometric influence of the design is more obvious in the light range, with their line thickness increasing in the classical manner. The bold weights increase more in width and substance to serve well in websites, mobile apps, posters, advertisements, and magazines that aim for impact more than spreading information. As a family, Catalpa gels in big headlines, short sentences, and isolated words. The family has many recognizable features, in the bolder weights especially, like the reversed contrast ‘S, s’ or the angular design of ‘Q, M, W, w, a, f, 2, 3’. Catalpa’s headlining mixture of geometry and quirkiness leaves an impression that is so characteristic of wood type, but designed for substrates and screens.

Type designer Xavier Dupré’s Garalda is a charming 21st century family that renews a legacy of finesse. As paragraphs on a page, Garalda’s overall impression is of a workaday personality, committed to the main purpose of the job: easy long-form reading. But setting it in display sizes proves something different: This reinvented Garamond is anything but basic. The Garalda story begins with the serendipitous finding of a book typeset in a rare Garalde, called Tory-Garamond, with which Dupré was not immediately familiar. This Garamond was used in bibliophile books in the decades surrounding 1920, but after that it became déclassé for an unknown reason. Dupré found the italic styles especially charming and discovered the family was probably the mythical Ollière Garamond cut from 1914. He obtained low resolution scans of the typeface and used them, rather than high resolution scans, as the basis for his new type family. This allowed Dupré the mental freedom to experiment and remix as he saw fit, culminating in a contemporary family with heritage. As seen in the simplistic rectangular serifs, Garalda is a humanist slab serif, but with a mix of angles and curves to give the classic shapes a fresh, unorthodox feeling. While almost invisible in paragraph text, these produce a graphic effect in display work. The set of ligatures in the roman and italics lend themselves to unique display use, such as creating lovely logotypes. In the italics, some swashes inspired by different historic Garamonds are included, sometimes breaking their curves to be more captivating. Just look at how the italic ‘*-s’ ligatures create ‘s’ with a cursive formation rather than merely a flowing slant. And how the roman ‘g’ link swings as wide as a trainer’s whip. These are all balanced by squared serifs in the roman to keep an overall mechanised regularity. The Garalda family comes in eight styles, includes some of the original arrows and ornaments, and speaks multiple languages for all typesetting needs, from pamphlets to fine book printing. The complete Garalda family, along with our entire catalogue, has been optimised for today’s varied screen uses.

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Script is a complementary typeface to ITC Ellipse Neo, designed a very legible handwriting style. ITC Ellipse Script is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Script offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: Nov 1, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. ITC Ellipse Script est une police complémentaire à ITC Ellipse Neo, conçue dans un style d'écriture très lisible. ITC Ellipse Script est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Script offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

Zuzana Licko's goal for Fairplex was to create a text face which would achieve legibility by avoiding contrast, especially in the Book weight. As a result of its low contrast, the Fairplex Book weight is somewhat reminiscent of a sans serif, yet the slight serifs preserve the recognition of serif letterforms. When creating the accompanying weights, the challenge was to balance the contrast and stem weight with the serifs. To provide a comprehensive family, Licko wanted the boldest weight to be quite heavy. This meant that the "Black" weight would need more contrast than the Book weight in order to avoid clogging up. But harmonizing the serifs proved difficult. The initial serif treatments she tried didn't stand up to the robust character of the Black weight. Several months passed without much progress, and then one evening she attended a talk by Alastair Johnston on his book "Alphabets to Order," a survey of nineteenth century type specimens. Johnston pointed out that slab serifs (also known as "Egyptians") are really more of a variation on sans serifs than on serif designs. In other words, slab serif type is more akin to sans-serif type with serifs added on than it is to a version of serif type. This sparked the idea that the solution to her serif problem for Fairplex Black might be a slab serif treatment. After all, the Book weight already shared features of sans-serif types. Shortly after this came the idea to angle the serifs. This was suggested by her husband, and was probably conjured up from his years of subconscious assimilation of the S. F. Giants logo while watching baseball, and reinforced by a similar serif treatment in John Downer's recent Council typeface design. The angled serifs added visual interest to the otherwise austere slab serifs. The intermediate weights were then derived by interpolating the Book and Black, with the exception of several characters, such as the "n," which required specially designed features to avoid collisions of serifs, and to yield a pleasing weight balance. A range of weights was interpolated before deciding on the Medium and Bold weights.

feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards perfectly macth for desgign with valentine theme, any product like book cover, t-shirt, branding, promotion, social media post, quotes, wedding, photography and more.

Filler is a display variable font that allows you to flexibly change the width ratio of font characters from extra narrow to extremely wide shapes. The typeface includes complete Latin language support with contrasting drawing of accents and punctuation. The character set includes special symbols, such as a set of emoticons or arrows that support OpenType features. In addition to the variable font, Filler also offers five width styles – Compressed, Condensed, Medium, Extended, Expanded. The font is intended primarily for strong display use in large proportions.

Roundkey Is the font sans serif family for branding and text. Comes with two basic characters, namely "sharp" and "soft", each character consists of 6 weight with matching oblique. A total of 24 fonts with basic condensed shapes and unique curves. the soft version has a different degree of softness. medium and bold have wider curves because they are suitable for displays, while thin to regular have smaller curves for easier reading. With these sharp and soft version make it can be applied more widely

British type designer Neville Brody created this display FontFont in 1991. The family contains 3 weights: Light, Medium, and Bold and is ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries as well as poster and billboards. FF Blur provides advanced typographical support with features such as ligatures, alternate characters, and case-sensitive forms. It comes with tabular lining and proportional lining figures. In 2011, FF Blur was added to the MoMA Architecture and Design Collection in New York.

Our condensed to extended font is perfect for multiple uses, from branding to packaging designs. Its extendable and variable design makes it great for all kinds of projects. Its tubular shapes, ink traps and juicy curves make it both aesthetic and functional. Its condensation also allows a great flexibility, allowing you to adapt it to any project's need. Its versatility also makes it great for both print and digital projects. With this font's easy to use features, your designs will look good on any project or medium.

Osaca is a sans serif font family inspired by nature and it is composed of 6 weights, from extra light to heavy, including the matching italics. Osaca is a typeface that doesn't go unnoticed due to its particular design: its curves and lines mirror the typical motif of leaves. Osaca is ideal for large and medium headers and titles, but also perfectly suitable for short or large paragraphs as it creates an effect that is quite different from the classic sans-serif and definitely unique.

Quta Rounded "derivative typeface from Quta" is a sans serif typeface produced by FoDa foundry, that meets all the needs of professionals who search a family of clean rounded geometric font, very well suited for headlines, newspaper and many purposes. With a basic character set in Five weights with their italics. Quta Rounded covers many features like: -Five main weights (Light, Regular, Medium, Bold and Extra Bold) -Matching italics for all weights. -language support for many Latin-based scripts -Ligatures and many other OpenType features.

Quarion is a clean, neo-humanist sans with a contemporary geometric approach. Its design started as an exploration of geometric fonts from the early 20th century, like Futura, Neuzeit Grotesk or Recta which allows the typeface to generate an inviting but sophisticated feel on the page. Although, less contrasting, geometric designs have been quite popular around type designers until today, Quarion finds its niche by combining circular elements with a medium stroke contrast, resulting in a versatile and robust workhorse for any analog or digital application.

HS Almaha is a modern OpenType Arabic Typeface. It combines the features of linear Naskh and modern Kufi. Segments of its letters are curvy and sharp. They are refinement more readable and present in extended texts in magazines, newspapers, books and other publications. This typeface supports Arabic, Persian, Urdu and Kurdish languages and it contains four weights; light, regular, medium and bold which can add to the library of Arabic fonts contemporary models that meet with the purposes of various designs for all tastes.

Genova is a sans serif type family with 4 variables namely Thin, Regular, Medium and Black. This font has a harmonious and beautiful shape that makes it perfect for all your needs for long text, branding, logotypes, print designs and more. This font is made in detail and measured by using geometric details to make this font look balanced and minimalist. This font is dedicated to the use of all needs in 2023, and will be the most popular and best selling font of the year.

Erbaum is a display square sans serif type family. It is straight-forward in overall structure, simple and rational in details. Erbaum was designed to maximise clarity, with an emphasis on construction and pragmatic aesthetics. The concept behind this typeface was uncompromisingly function driven, which was to provide a clear and effective medium for communication and a modern alternative to similar fonts in the aforementioned category. Extended x-height and sharp details aid legibility. Other features include seven weights, Cyrillic, alternative characters and various OpenType features.

Bullish is a clean, contemporary, geometric font family. There are 12 fonts in the Bullish family, Light, Medium and Bold. Each with a lower case, small caps, lower case oblique and small caps oblique. The small caps versions have small caps in place of the lower case alphabets. The lower case and small caps versions have the same uppercase alphabet, numbers, punctuation, symbols and miscellaneous characters. The Bullish fonts are ideal for headlines, titles, branding, small blocks of text or wherever a fresh font is desirable.

Piccata is a hand-drawn font family consisting of 2 weights with 4 styles each. Piccata has been built up from straight brush strokes arranged in a geometric grid. It is intended to work best in small and medium sized texts, but will also make a perfect logo for your next beer label, coffee packaging or shirt design. Combine the 8 styles to create interesting contrasts and rhythms. Piccata will spice up your artworks and is a new fresh approach to the handmade look in type design.

Finally, voltdeco V02 is basically capital letters (all-caps) for display, then to complement various needs for body text and headline layouts, it is developed into a font family. Voltdeco is an art deco uppercase font with a modern style, Voltdeco works great in short sentences or words, but the (20 weight) fonts allow for more options for exploration. Voltdeco can also work well for medium or regular text. Explore with voltdeco for creative works, whether printing the final design or digital design, happy exploring with voltdeco.

Rambla Alt is a variation of Rambla, which has certain modifications without altering its main structure (Rambla is also available in Myfonts). For this reason Rambla Alt is great when used together with Rambla. Rambla Alt is a humanist sans for medium-long texts. It’s slightly condensed, with a generous x-height and short ascender/descenders. Its proportions have the objective of gaining space in height and width. It’s elegant in large sizes and legible at the same time, with a lot of rhythm in small sizes.

Hupaisa is a geometric sans serif with a casual hand-drawn feeling. It has six weights: thin, light, regular, medium, bold and black. Although Hupaisa is a display font, it is very legible also in small sizes. That makes Hupaisa very useful in design projects. You can use it on titles and body texts. Create interesting typography with a proper hierarchy. Hupaisa also includes many alternate characters, ligatures and swashes to give you options to play with. Use them to create interesting titles, wordmarks, quotes or logos.

Grovana is a modern family of sans serif fonts, which includes 12 fonts: 3 styles - regular, round and rough, each of them has 4 weight - light, regular, medium and bold. I also prepared many ligatures and alternatives that give you more opportunities to create your project. with them you can be unique and experiment with your design. This font is easy to read and universal, perfect for creating logos, book and magazine covers, advertising, branding, wedding invitations, posters, postcard, labels, business cards, packaging and much more.

Erbar or Erbar Grotesk, designed by Jakob Erbar (Ludwig & Mayer) in the early 1920s, is a truly key design from a historical viewpoint. None other than Paul Renner studied Erbar and used this knowledge in the design of his famous Futura. Erbar is a beautiful constructive Grotesk perfectly mirroring the Zeitgeist of the 1920s. The newly expanded Erbar family of URW++ comes in nine styles, of which seven have been digitally remastered recently in URW's design studio (light, book, medium, bold, italic, bold italic).

Paulette is a script typeface, the capital letters are completely unpublished, some of them have a smile-similar ornament (A,F,O,H,Q,B,C,P,G), whereas minuscule letters are inspired to Edwardian font script. The font is very versatile and is very suitable for typographic compositions with large letters and for medium and small ones. It includes a complete series of internationals letters, 342 glyphs and 6 new ligatures. Paulette is an elegant letter and it's available in two versions, regular and eroded.

Introducing Automata, the typeface that combines futuristic appearance and easy readability. Great for titles but also for logos and text at medium/small sizes, making Automata suitable for a wide range of applications. In addition to its smooth, clean lines and geometric aesthetic, Automata offers a variety of customizable options such as stylistic alternates, logo discretionary ligatures and multiple weights including extra-light and black. The support for many languages makes Automata a global typeface. Add a touch of the future to your design work.

"Moyt" is a display slab font that has an art deco retro feel in a slanted modern design. This family is perfect not only for TV and film titles and credits but also for holiday season materials such as greeting cards, Christmas cards and many other purposes. Individual fonts - light, regular, medium and bold - are available in addition to a variable version which can be perfect if you would like to adjust its weights in detail. Hope you’ll have fun using this typeface for your projects.

Foundry Dit is created with a common horizontal dash grid structure for accurate layering when characters are superimposed. Foundry Dit functions as a legible correspondence font, with a ‘typewriter’ feel. Foundry Dit’s companion family Foundry Dat has an integrated background grid. Each family contains: light, regular, medium and bold weights. Foundry Dat comes with a series of dashes to extend the grid. Characters can also be offset to make different patterns – in the process becoming images – a graphic language with total integration of form and function.

Brogi is a stylish sans serif font designed specifically for logo and brand designs. Brogi exuded a sense of boldness and sophistication despite his menacing styles. Ligature fonts can be used for almost any purpose you can imagine. 10 Weights (Light, Regular, Medium, Bold and Black) 2 Styles (Regular & Italic) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it.

Proudly Introducing you my new font collection – The Pretender. This collection was born and inspired by American sign painting typography and vintage package design. Wide range of styles for a wide range of use. This collection gives you awesome vintage look effect, which one will add the hand-touch feeling for your project. Light, Regular, Medium and Bold widths goes as Sans and Serifs and Normal or Expanded! And, of course, vintage candy Script! But that's not all – Every font comes as a Clear and Pressed style!

Someday, as computers become the new medium for writing, the art of cursive handwriting will slowly become a lost art. Calligri seeks to preserve this endangered style with tastefully drawn letters that connect with each other in classical artistry. Calligri includes a full character set (UPPER and lower case), all punctuation, all special characters, Euro symbol, and all Latin Extended-A characters, making this font a perfect match for any project including personal messages or notes, holiday cards and newsletters, and wedding invitations and announcements.

Introducing Retrio. Original glyphs with echoed behind. As if the letters were moved, but the kinetic trail remained. Colored, gradient, with transparency or solid - many options in one family for any task and for every taste. The font will emphasize the style of the 20th century in illustration. Discos, electro music, records, nostalgia - these are the associations that this font family evokes, which is very important in design. At the same time, the Retrio font is not outdated, it was created taking into account modern trends in retro themes. A unique family in which there are both color and classic monochrome versions. Great versatility in use is provided by the many fonts in the set. Great for ad designs, posters, headlines and covers. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Retrio Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size. - With transparency and without. - Mega high-quality gradients in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Introducing incredible COLOR ANAGLYPH font. Unique font family with anaglyph stereo effect - a novelty in the field of color fonts. Inspired by global trends in contemporary design with a touch of retro 90s, electric music and minimalistic purity of glyphs. Truly a reflection of modern POP culture. Font is ideal in entertainment design. Night club poster design, fashionable business card, website title, magazine illustration - there are countless options for using it. Font family has two thicknesses - bold & regular, 3 types of stereo effect, 2 font colors with stereo effect (black and white). Font consists of letters of the same height without division into uppercase and lowercase glyphs. This font family is based on the Regular & Bold fonts Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works. 36 OTF SVG fonts in the family 2 thicknesses: Bold, Regular 3 types of stereo anaglyph effect 6 font colors with stereo effect Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you see all fonts in black and not in multicolor in the tab “Individual Styles” - all fonts are working and have passed technical inspection, but not displayed in multicolor they, just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

The Cralic Coob font is an excellent selection when you want to infuse your designs with a playful and whimsical charm. This adorable and quirky display font adds a delightful and lighthearted element to any creative endeavor. It offers a wide range of applications, making it a versatile choice for various projects. Whether you're working on branding projects, crafting unique logos, designing wedding materials, creating eye-catching social media posts, producing captivating advertisements, or even developing product packaging and labels, the Cralic Coob font is your ideal companion. This font's handwritten style adds a personal and charming touch to photography projects, while it also elevates the elegance of invitations and stationery. With its ability to convey a sense of childlike wonder and cheerfulness, the Cralic Coob font is your go-to choice for infusing character and whimsy into your creative work. Its versatility and distinctive aesthetic make it a valuable asset for designers seeking to add that extra touch of playfulness and individuality to their projects. See other fonts from Cralic family https://www.myfonts.com/collections/cralic-font-popskraft

Fusion is a titling and short text typeface inspired by medieval decorative initials (versals) and bodoni letters. Each sign exists in two versions.