I have always liked handmade display fonts - maybe that’s why I have so many of them! Display Patrol is a rather fat, in your face font. It is completely handmade and comes in two distinct styles: regular and dots. Use it for your posters, books and product packaging. I am sure it will stand out!

Tiranti Solid is based on the original textured Tiranti created by English designer Tony Forster. This typeface lends itself more easily for use in digital formats while still maintaining the free-flowing calligraphy of the earlier design. Tiranti Solid consists of initial swash capitals complemented by a more reserved lowercase with many alternate letters.

Sailor Marie is dedicated to my little lovely Daughter Marie. Sailor-Marie is an Oldschool Tattoo-Style Font, made for all Tattooartists of the world. The Tattoos of the 50th like Sailor Jerry are always designed with Fonts like this. The Font comes with many Opentype Feature and an GraphicFontfile wit Banner and more.

Bright Cherry is a handwritten calligraphy typeface with a natural style of brush lettering. It comes with the alternates glyph and multilingual support. Bright Cherry is perfect for many different projects such as logos & branding, invitation, stationery, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special events or anything.

Blacklisted is a vintage script font with clean brush strokes. It’s very recommended for logo, branding, clothing, poster, and many more. You can customize every word with alternates characters and swashes. Blacklisted also support special characters for multilingual. Files & Features: Uppercase & Lowercase Numeral & Punctuation Stylistic Alternates Stylistic Sets (SS01 & SS02) Special Characters PUA Encoded

Blackside is a bold and authentic blackletter font. The font is suitable for any branding project like logo, t-shirt printing and many more. Outstanding in a wide range of contexts. Includes: Blackside (OTF) Featured : Alternates Accents (Multilingual characters) PUA encoded Numerals and Punctuation (OpenType Standard) Thanks for downloading premium font from Din Studio

Bingkisan is a font with Signature style, but with the vibe of real hand lettering, with a lot of swashes, ligatures and stylistic alternate, Bingkisan Font is perfect for many different project such as logos & branding, invitation, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special events or anything.

Hurstville - Brush Signature Font with a natural & stylish flow. This collection of scripts is perfect for personal branding. this works well for many applications. Everything from personal branding & wedding invitations to advertising could benefit from this collection of signature fonts Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Swash

Although Andi AW. Masry designed his Coomeec typeface with one eye on comic books, this is more than just another cartoon font. Even in our short profile of the font below, we're sure you'll find enough to be surprised by the calligraphic aesthetic and the wide range of potential uses of Coomeec. Typography had been one of Andy AW. Masry's hobbies before he turned professional in 2008 and formed his own agency in Jakarta in Indonesia. The former construction engineer had already spent many hours of his leisure time in following his pastimes of designing, photography and Latin typography. Fascinated by the close interaction between text and image in comic books, one of his first projects was the development of his font Coomeec™. The condensed letters of Coomeec seem to have more in common with a calligraphic brush typeface than a more conventional cartoon font. With the characteristic line forms of a brush font, the not unextensive variations in line thickness and numerous small embellishments to the glyphs, Coomeec can be used to enhance your projects with animated effects. You can achieve this not just in the larger font sizes; the font is also very legible in small sizes thanks to its large x-height. There are certain unusual letter forms, such as that of lowercase 'g', 's' and uppercase 'Y', that provide Coomeec with a touch of the exotic. As Coomeec has numerous character alternatives, you can use it not only to create diverse designs but also to ring the changes with the character of the text itself. There are variants for most lowercase letters, some of which exhibit only minor differences, such as the lack of a curlicue on the 'b', a modified downstroke on the 'h' and an elongated base for the 'k'. In the case of other letters, such as the 'q' and the 'r', there are significant disparities between variants. The uppercase characters are also available in a lively swash style with significantly extended terminals. Among the range of characters of Coomeec are oldstyle and lining figures designed for proportional and tabular setting. All alternatives are available in the form of the corresponding OpenType versions. Coomeec comes in two weights; Regular and Bold, each with its Italic version. The form of the slightly inclined Italic characters is identical to that of their upright counterparts with the exception of the lowercase 'f', which has an ascender in its Italic version. As an OpenType Pro font, the glyphs available for Coomeec ensure that it can be used to set not only western European but also central European texts. Coomeec is not just at home when used to set headlines. The excellent legibility of this individual and vibrant typeface means that it's also ideal for setting shorter texts. The various alternative letters provide the designer with the opportunity to vary the textual appearance, and to choose between creating a more formal or more light-hearted effect. Coomeec is not only available in an OpenType version but is also obtainable as a web font, so that you can employ its exotic features to good effect when creating internet pages.

Nixed is a cool and daring display font. Add it to your posters, headlines, banners, or anything that requires strong and modern typography.

Camar is a dynamic font that has sharp and pleasant edges, this font represents the word freedom and comfort in socializing and socializing.

Sugoi means super in Japanese, which it's what the design tries to show as well. A strong, easy-to-read, tittle font. *Uppercase

Record Promotion JNL is based on a stencil version of the same classic font that inspired Album Cover JNL and Record Jacket JNL.

Patri is an original type LGtypes, modern with style that recalls the belle epoque, combines a wide and a thin line, elegantly finished.

Bea is my Racetrack-Script. I call it that, because it gives the impression of speed. No lingering around with this font. Zaaanggggg!!!

A page from an old manual for sign painters yielded the hand-lettered alphabet that served as a model for Claim Check JNL.

HU Makingfilm gives a solid feeling of a full module, and it is a font that adds softness by rolling the angled part.

This is a hand-drawn font with unique quirks like the loopy lowercase l that make it perfect for anything fun and happy.

KnewFontWaisted is a informal font that was produced by distorting the handwritten font KnewFont. It is more concave and compacted than the original.

Anything Okay is a simple, yet classy signature typeface. It includes beautiful swashes, that will add an organic feel to any design project.

SG Rogibogy is a playful font, suitable for your design that needs a cute touch. There are several alternative choices of letters available.

Scandal is a handwriting font that is meant to sit big and bold on the page, calling all kinds of attention to itself.

This square and elegant typeface has unique round stems that makes the geometric look of Tmura MF work well in any point size.

Like the cat that swallowed the canary, this font can't hide its mischievous nature. Orange Cat is moody, athletic, and likes to play.

Sharper than a cactus patch, the thorny Prick is perfect for the Goth or Heavy Metal fan that lies dormant in us all.

Use your imagination. Butter Bold Brush Script is a fun universal font that will work with almost anything you want it to do!

Continental Gothic JNL is elegant and sophisticated... perfect for an Art Deco project needing a font that is not too bold or overpowering.

Venture is an all caps typeface inspired by the great outdoors. Also comes in 2 extra styles, great for that vintage print look!

Sea is a versatile sans serif font that works well in a variety of sizes and applications. It's friendly, but robust and professional.

Daily Tabloid JNL was redrawn from a set of wood type that was popularly used for newspaper headlines, posters, broadsides and the like.

Printers Pictures JNL is another volume of vintage letterpress stock cuts, cartoons, embellishments and what-nots for those who enjoy these charming illustrations.

Basilica is a calligraphic typeface that will add style and grace to short copy. Use the Basilica font for poetry, menus and stationery.

One line, two lines, three lines. Inspired by the 1968 Mexican Olympics, Azote is a multiline typeface family that adds lines for weight.

Inkpad Letters JNL joins a number of fonts that were reproduced by Jeff Levine from inked impressions of various rubber stamp printing sets.

Hand drawn with ink and brush to obtain that unique rhythm and dynamic flow. Great for formal inviraions as well as personal documents.

Resiliency3 font family was designed for use in sports and fitness themes. Gaming is another genres that the font family pairs well with.

A chunky, whimsical number that strikes just the right chord for modern and retro projects. Loaded with stylistic alternatives, ligatures and Vietnamese support.

Cicero Series is a bold decorative serif display font that exudes power, strength, magnificence, prestige. Add this grandiose piece to your font collection.

Forget everything about Times New Roman and all the other classic typefaces! Forget all that and take a bite of Peanut Butter Man!

The font Speech Bubbles offers a convenient way to integrate text and image. While the font can be used to design comics, it also gives the typographer a tool to make text speak – to give words conversational dynamics and to emphasize visually the sound of the message. The font includes a total of seventy outlines and seventy bubble backgrounds selected from a survey of historic forms. What follows is a discussion of my process researching and developing the font, as well as a few user suggestions. My work on the Speech Bubbles font began with historic research. My first resource was a close friend who is a successful German comic artist. I had previously worked with him to transform his lettering art into an OpenType font. This allowed his publishing house to easily translate cartoons from German to other languages without the need to use another font, like Helvetica rounded. My friend showed me the most exciting, outstanding and graphically appealing speech bubbles from his library. I looked at early strips from Schulz (Peanuts), Bill Waterson (Calvin & Hobes), Hergé (TinTin), Franquin, as well as Walt Disney. The most inspiring was the early Krazy Kat and Ignatz (around 1915) from George Herriman. I also studied 1980’s classics Dave Gibbon’s Watchmen, Frank Miller’s Ronin and Alan Moore and David Lloyd’s V for Vandetta. Contemporary work was also a part of my research—like Liniers from Macanudo and work of Ralf König. With this overview in mind I began to work from scratch. I tried to distill the typical essence of each author’s or era’s speech bubbles style into my font. In the end I limited my work down to the seventy strongest images. An important aspect of the design process was examining each artist’s speech bubble outlines. In some cases they are carefully inked, as in most of the 80’s work. In others, such as with Herriman, they are fast drawn with a rough impetus. The form can be dynamic and round (Schultz) with a variable stroke width, or straight inked with no form contrast (Hergé). Since most outlines also carry the character of the tool that they are made with, I chose to separate the outline from the speech bubble fill-in or background. 
This technical decision offers interesting creative possibilities. For example, the font user can apply a slight offset from fill-in to outline, as it is typical to early comic strips, in which there are often print misalignments. Also, rather than work in the classic white background with black outline, one can work with colors. Many tonal outcomes are possible by contrasting the fill-in and outline color. The Speech Bubbles font offers a dynamic and quick way to flavor information while conveying a message. How is something said? Loudly? With a tint of shyness? Does a rather small message take up a lot of space? The font’s extensive survey of historic comic designs in an assembly that is useful for both pure comic purposes or more complex typographic projects. Use Speech Bubbles to give your message the right impact in your poster, ad or composition.