Chittenden is a painstakingly hand-crafted, hand-drawn decorative font that get its inspiration from classic serif fonts, and adds some double-stroked panache of its own.

»Breezy« is a brush script with very expressive strokes and surprising connections. »Breezy« is a great script if you really want to have that crude, rough feeling.

A friendly sans serif font inspired by sign written lettering. Brushed Sans captures the nuances that come from the action and speed of the sign writing process.

Handwritten letters inspired by various ancient & modern scripts. Ballers is a "gangsterish" tag font that avoids overlap & features long acenders & decenders for an eye catching unique style.

Richard Miller started out as just a logo for a website/business card. It is a modular sans that works well in both print and web design.

Fun, little illustrations in line and reverse of what one finds in an office-- or at least my office. See Food Doodles for more matching little drawings.

The main purpose of Rianti is to be used as a logo that matches with body text. It can be used in both vintage or modern settings.

Uertas font brings a modern calligraphy feel. It's perfect for freestyle urban typography, modern logotypes, product branding, or just a quote that you want to stand out.

Brewmaster Modern is a very contemporary script that will work well for sign lettering and t-shirt designs, it also resembles the lettering used for Budweiser Racing.

With its strong diagonal emphasis, Gentry is a humanised techno face that manages to also incorporate some strong calligraphic touches. Powerful in short and single-word settings.

Another delightful offering from "The Signist," compiled by R. Henderson in 1903, named after the comic strip that introduced the world to Popeye the Sailor in 1929.

Marie Jeanne is a handmade font created with a casual feel that works well at larger sizes in headers or titles. Also works great in branding applications.

Ringwell is pure Victoriana in two styles, plain and decorative, that can be mixed and matched. The Pro version combines the two styles using stylistic alternate features.

Southeast is a chic, paint brushed script font that emanates sophistication and elegance. Its stylish alternates and ligatures make this font the perfect match for any project.

The term "podunk" usually refers to a small, insignificant town. In this case, Podunk JNL refers to a bold and brash font that resembles cut-paper characters.

Bushwick JNL and Bushwick Oblique JNL are modeled from a wood type sanserif that has a strong resemblance to Franklin Gothic, yet keeps its own distinct personality.

Thunderblack is a type of display letter that is made with firm lines and angles. This font is very suitable when combined with various types of typography.

Golden Bloom is a chic, refined script font that emanates sophistication and elegance. Its stylish alternates and ligatures make this font the perfect match for any project.

Drawzing is a font designed by Ethan Dunham that mimics the looks of either chalk or crayon. The font is well balanced and is not overly childish.

Pepper was first conceived as an authentic alphabet of runes, but that was far too serious so it ended up as a greater spotted version of Salt.

Amonus is a modern and simple display font. This font is ideal for logo design, labels, posters, or pretty much anything else that requires a unique touch.

Xet-hand Script is an elegant script font. It features a unique style that will look amazing in wedding invitations, branding, social media posts and much more!

Vunderscript is a calligraphic script with upper-case letters that have blackletter touches. It is available in two weights, plain and bold, each with an obilque style.

Fineberg is a script font that is very suitable for branding projects, home appliances design, product packaging, design on t-shirts, calendar design, logo design and more!

Inspired by printed texts from 18th century France, Millesime has a gritty grainy texture that adds a natural and sentimental feel to this stylish rusty style font.

Hellena, an elegant script font that great for fashion, quote, and many more. This font was designed with uppercase, lowercase, ligature, numbers, punctuation, and also multilingual support.

Asvet Mono is a playful monospaced stencil that is bold and curvy. This cheerful TrueType Font has over 370 characters and it is legible in fine print.

RefSpecialty is a unique font that was originally developed for inclusion in a Microsoft product. The RefSpecialty font is available in TrueType with a custom character set.

Russel Dexter is a retro display font with a vintage style. Use it to add that special retro touch to any design idea you can think of!

53 all-original, all-terrifying zombie illustrations by Nate Piekos and Lee Morin! Also included is a character map so you can pick that perfect undead dingbat!

The sarmal font contains ligatures that are functional and useful. It can be a stylish font choice for your posters, t-shirts, prints and many more works.

Hosbela is a beautiful script font. It has a classy, elegant, and modern look that works perfectly in any design projects in need of a handwritten touch.

Liberalism is a sans-serif, grotesque and hybrid typeface that I created during the lockdown. Born as a pure design exercise, it has turned into something more.

FG Emmy works great for both small and large text pieces and headings. I like the way the font bends in different directions. That makes it interesting!

Solo Print mimics letters that had a close encounter with a slightly bad copy machine, The 5 different versions of each letter makes it even more realistic!

Longbeach is a casual yet elegant brush font, it has natural brush stroke that perfect for branding project, household appliance design, product packaging, or other wonderful design

Salt was first conceived as an authentic alphabet of runes, but that was far too serious so it ended up as a lesser spotted version of Pepper.

Dauphine is an elegant caps and small-caps typeface that manages to be modern while still displaying perfumed good breeding. It comes with a leafy decorative variant.

The Generic Typeface Collection is a series of sans-serif typefaces inspired by the craftsmanship of graphic design, typesetting, and printing in the analogue era – before Adobe, Macintosh computers and desktop publishing – when dinosaurs ruled the earth. With the use of various typesetting apparatuses or dry transfer type, photo copiers, and shooting layouts and paste-ups to film, the printed results was not as exact, precise and predictable as it is today. When examining old prints, it is difficult not to like the way that characters in over- or underexposed film have a special type of vibe to them that is often sadly lost in today’s pursuit of total perfection. Encouraged by this, I saw a need for a collection of typefaces that are non-clinical and non-conformist, and some that are coarse, rough and distorted – errors that might come from poor exposure when put on film, enlargements from small point texts, or maybe quality loss from successive generations of photocopies. Or all of the above. This is an attempt to incorporate spirit and personality into a set of typefaces without losing distinction. You might call it a homage to non-perfection. I call it human. The Generic Typeface Collection consists of 11 fonts divided into four series. The three standard series – the Formal Release series, the Coarse Copy series, and the Rough Display series – all contain three fonts each. The Extra Splendor series contains a couple of shadow fonts for that little extra sparkle. Formal Release – Handcrafted & Clean The Formal Release series features sans-serif typefaces for everyday use. They are handcrafted and clean, human and uncomplicated. The Formal Release series contains three typefaces that add tons of personality to any text. G10 FR ‘Slim’ – a slightly under-exposed and clean typeface in a regular weight (228 glyphs - 1 alternate) G20 FR ‘Classic’ – a properly exposed clean typeface in a bold weight (228 glyphs - 1 alternate) G30 FR ‘Bulky’ – a heavily over-exposed clean typeface in an ultra weight (228 glyphs - 1 alternate) Coarse Copy – Dirty & Rough The Coarse Copy series features non-conformist typefaces that are worn and rough, maybe after going through that bad copier a few times too much. The Coarse Copy series contains three sans-serif typefaces that add tons of spirit to any text without compromising too much on legibility. Try them on in poster-sizes and everyone will know that you mean business. G40 CC ‘Slender’ – an under-exposed coarse typeface in a regular weight (228 glyphs - 1 alternate) G50 CC ‘Typic’ – a properly exposed coarse typeface in a bold weight (228 glyphs - 1 alternate) G60 CC ‘Huge’ – a heavily over-exposed coarse typeface in an ultra weight (228 glyphs - 1 alternate) Rough Display – Faded & Decorative The Rough Display series features attention-seeking decorative typefaces in three feature-packed fonts. Faded and gritty like the image distortion and degradation from successive generations of photocopies, they are eye-catching typefaces intended to stand out in bigger point sizes. Use these typefaces for signage, headlines and similar situations were a strong typographic statement is desired. We have packed no less than 1,334 alternate characters and 212 discretionary ligatures into this series for a greater chance of not having characters that look exactly the same more than once. G70 RD ‘Slinky’ – an under-exposed rough and decorative typeface in a regular weight (741 glyphs – 448 alternates – 66 discretionary ligatures) G80 RD ‘Standard’ – a properly-exposed rough and decorative typeface in a bold weight (748 glyphs – 448 alternates – 73 discretionary ligatures) G90 RD ‘Swollen’ – a heavily over-exposed rough and decorative typeface in an ultra weight (748 glyphs – 448 alternates – 73 discretionary ligatures) Extra Splendor – Sparkling & Extraordinary The Extra Splendor series features two shadow typefaces for that little extra sparkle. One clean shadow to be used with G20 FR ‘Classic’, and one rough shadow to be used with G80 RD ‘Standard’. Having the shadows separate from the main typeface adds another layer of expressiveness in that you can try out color combinations for that extra splendor. Tips for matching (applies to both the base font and the shadow font): Set the kerning to Metric, not optical. Increase tracking to accommodate for the shadows extra width. G25 ES ‘Classic Shadow’ – a clean shadow to be used with G20 FR ‘Classic’ (228 glyphs – 1 alternate) G85 ES ‘Standard Shadow’ – a rough shadow to be used with 80 RD ‘Standard’ (227 glyphs) OpenType features – alternate characters and discretionary ligatures – can be accessed by using OpenType friendly professional design applications, such as Adobe Illustrator, Adobe InDesign, and Adobe Photoshop.

A friend of mine says that sports are the ultimate popular drug. One of his favorite things to say is, “The sun’s always shining on a game somewhere.” It’s hard to argue with that. But that perspective is now the privilege of a society where technology is so high and mighty that it all but shapes such perspectives. These days I can, if I so choose, subscribe to nothing but sports on over a hundred TV channels and a thousand browser bookmarks. But it wasn't always like that. When I was growing up, long before the super-commercialization of the sport, I and other kids spent more than every spare minute of our time memorizing the names and positions of players, collecting team shirts and paraphernalia, making up game scenarios, and just being our generation’s entirely devoted fans. Argentina is one of the nations most obsessed with sports, especially "fútbol" (or soccer to North Americans). The running American joke was that we're all born with a football. When the national team is playing a game, stores actually close their doors, and Buenos Aires looks like a ghost town. Even on the local level, River Plate, my favorite team where I grew up, didn't normally have to worry about empty seats in its home stadium, even though attendance is charged at a high premium. There are things our senses absorb when we are children, yet we don't notice them until much later on in life. A sport’s collage of aesthetics is one of those things. When I was a kid I loved the teams and players that I loved, but I never really stopped to think what solidified them in my memory and made them instantly recognizable to me. Now, thirty-some years later, and after having had the fortune to experience many cultures other than my own, I can safely deduce that a sport’s aesthetic depends on the local or national culture as much as it depends on the sport itself. And the way all that gets molded in a single team’s identity becomes so intricate it is difficult to see where each part comes from to shape the whole. Although “futbol” is still in my blood as an Argentinean, I'm old enough to afford a little cynicism about how extremely corporate most popular sports are. Of course, nothing can now take away the joy I got from football in my childhood and early teens. But over the past few years I've been trying to perceive the sport itself in a global context, even alongside other popular sports in different areas of the world. Being a type designer, I naturally focus in my comparisons on the alphabets used in designing different sports experiences. And from that I've come to a few conclusions about my own taste in sports aesthetic, some of which surprised me. I think I like the baseball and basketball aesthetic better than football, hockey, volleyball, tennis, golf, cricket, rugby, and other sports. This of course is a biased opinion. I'm a lettering guy, and hand lettering is seen much more in baseball and basketball. But there’s a bit more to it than that. Even though all sports can be reduced to a bare-bones series of purposes and goals to reach, the rules and arrangements of baseball and basketball, in spite of their obvious tempo differences, are more suited for overall artistic motion than other sports. So when an application of swashed handlettering is used as part of a team’s identity in baseball or basketball, it becomes a natural fit. The swashes can almost be visual representation of a basketball curving in the air on its way to the hoop, or a baseball on its way out of the park. This expression is invariably backed by and connected to bold, sleak lettering, representing the driving force and precision (arms, bat) behind the artistic motion. It’s a simple and natural connective analysis to a designer, but the normal naked eye still marvels inexplicably at the beauty of such logos and wordmarks. That analytical simplicity was the divining rod behind Fan Script. My own ambitious brief was to build a readable yet very artistic sports script that can be a perfect fit for baseball or basketball identities, but which can also be implemented for other sports. The result turned out to be quite beautiful to my eyes, and I hope you find it satisfactory in your own work. Sports scripts like this one are rooted in showcard lettering models from the late 19th and early 20th century, like Detroit’s lettering teacher C. Strong’s — the same models that continue to influence book designers and sign painters for more than a century now. So as you can see, American turn-of-the-century calligraphy and its long-term influences still remain a subject of fascination to me. This fascination has been the engine of most of my work, and it shows clearly in Fan Script. Fan Script is a lively heavy brush face suitable for sports identities. It includes a variety of swashes of different shapes, both connective and non-connective, and contains a whole range of letter alternates. Users of this font will find a lot of casual freedom in playing with different combinations - a freedom backed by a solid technological undercurrent, where OpenType features provide immediate and logical solutions to problems common to this kind of script. One final thing bears mentioning: After the font design and production were completed, it was surprisingly delightful for me to notice, in the testing stage, that my background as a packaging designer seems to have left a mark on the way the font works overall. The modern improvements I applied to the letter forms have managed to induce a somewhat retro packaging appearance to the totality of the typeface. So I expect Fan Script will be just as useful in packaging as it would be in sports identity, logotype and merchandizing. Ale Paul