Introducing Peachy Delight Duo – a bold and energetic display duo font that will bring a burst of joy to any design project. With its rounded edges and playful curves, this bubbly font exudes a sense of vibrancy and cheerfulness that is sure to captivate your audience. Peachy Delight Duo is not just your ordinary font. It goes beyond the ordinary and offers you even more creative possibilities with its outlined version. The outlined bubbly font style adds an extra layer of depth and dimension to your designs, making them truly pop off the page. cute fo Unleash your creativity and let Peachy Delight Duo be the highlight of your designs. Available in a variety of formats, this font is compatible with both Windows and Mac operating systems, making it accessible to all designers.

Introducing Wonder Pleasure, a new display font collection. The Wonder Pleasure font comes in a hand-drawn vintage style with rounded corners. Adding a vintage touch to your project is easy using Wonder Pleasure Font. Ensuring carefully crafted styles result from the use of this font. You can use the alternates from this font to add more fun to your projects. Its imperfections keep it casual but allow it to still be legible. There is an incredibly wide range of uses for it, so give it a try and see how it inspires your creativity! It's ideal for headlines, flyers, posters, greeting cards, product packaging, book covers, printed quotes, logotype, and album covers, among other applications. Features: - Total 210 Glyph - Uppercase & Lowercase - Numerals & Punctuation - Multilanguage Supports 60+ Latin based languages - Alternates

Blarks is a unique font with a strong character. The inspiration for making this font is from several e-sport and typography logos that I have seen on various websites, where I found ideas to make fonts that could be applied without having to use another application to change it. Blarks is ideal for logos, event titles, quotes, product packaging, clothing, or anything that requires a turbo typographic boost. It is perfect for titles and logos. Type any a-z using this font, and you will get a unique font arrangement and strong character.

A wise orange cat said once: There are three things certain in life. Death, taxes and teddy bears. The closest thing to a fourth is red tape. Restricting you, bounding you to the rules of a bureaucratic organisation. My advise, carry a scissor with you all the time to cut through it. WBP Red Tape is a great monospace font specifically designed for headings and logo design.

HT Osteria is a monoline script, but you don’t feel it monotonous because of distinctive shapes of the characters. HT Osteria is suitable for signage, package, and posters or any other kind of display use. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Introducing SG Mikura: Redefine Possibilities with Typography. Elevate your designs with the perfect blend of variability and versatility offered by our brand new font. With 9 meticulously crafted weights and over 600 meticulously designed glyphs, your creativity knows no bounds. From elegant finesse to bold statements, let SG Mikura be the cornerstone of your visual masterpiece. Discover the art of expression through typography today.

Tobu means 'to jump' in Japanese. I came across a haiku by Matsuo Bashô wich reads: The old pond… a frog jumps in… the sound of water (Furu ike ya… kawazu tobikomu… mizu no oto). The font is named Tobu because of its jumpy character: it doesn't have a real baseline, which makes it playful and fun to use. Tobu comes with a pond full of diacritics.

Found within the pages of the 1927 edition of the “Welo Studio Handbook - Letter and Design for Artist and Advertisers” is an elegant Art Deco multi-line alphabet. Digitally redrawn as Theater Alley JNL, it is available in both regular and oblique versions. The font takes its name from that of a street in New York, although the street’s name uses the old-fashioned spelling of “theatre”.

The initial designs for this font first came from the idea of creating a dynamic and visually appealing typeface just by using squares so throughout the development stages I had restricted myself to just the use of squared paper. The hardest thing that I found was overcoming the problems regarding letter forms that have diagonal lines and therefore defer from the ongoing style of the typeface.

Step into the future with this retro computer video game font! Get that 80'ies feeling with shoot 'em up games and mazes full of deadly robots - just waiting to zap you with their lazers! Rugsnatcher comes with a sci-fi loadful of ligatures, that curl and swirl ... right into outer space! Play around with UPPERCASE and lowercase to change how the letters play!

Skyline was commissioned from Font Bureau by Condé Nast specifically as a headline typeface for Traveler magazine. This strongly personal work by Imre Reiner from 1929 and 1934 was known in Europe as Corvinus. Skyline Black and Bold Condensed offer immediate headline recognition through Reiner’s variations on the themes found in the classical Modern structure. Both styles were adapted by Jane Patterson; FB 1992

Here’s another wild and wacky typeface based on handlettering found on Hallmark Studio Cards of the 1950s. All possible letter combinations have been kerned, so you can mix and match upper and lowercase letters to create just the balance you’re looking for. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Eckhardt Casual JNL was modeled from an example of poster lettering found in a 1941 Speedball® Lettering Pen instruction book. The font is named in honor of Jeff Levine's good friend, the late Albert Eckhardt, Jr. (owner of Allied Signs in Miami, Florida until his passing) and is one of a number of releases with a "sign painter" theme that comprise the "Eckhardt Series".

Eckmannschrift is a redrawing based on original sketches and type specimens of the original 1900 Otto Eckmann typeface Eckmannschrift. It includes the original characters designed by Otto Eckmann not included in most modern releases of the font. Though it is a vintage typeface, it has found several popular resurgences of use over its 100 years in existence, including today's retro styles and psychedelic posters from the 1960s.

KgStuttgart1930 -- Kunstgewerbeschule Stuttgart 1930 -- is based on a printed sample of a font designed in 1930 at the Stuttgart School of Applied Arts. Found in the book ABZ, more alphabets and other signs by J. Rothenstein and M. Goodings. I recreated the grid and kept some awkward letters of this bauhaus-era inspired design. I created the missing glyphs and added alternate versions of already existing ones.

Adalbert von Chamisso wrote that wondrous story about the man who sold his shadow to the devil. Walter Thiemann recovered that shadow when he put a thin line and a shadow line around his Tiemann Fraktur. It is an embellished and delightful typeface, this Peter Schlemihl. It is probably one of the most beautiful typefaces among the outline, shadow and striped black letter fonts. (Albert Kapr)

Did you ever get lyrics from a song wrong? And maybe found out years and years later, that is was wrong...but the wrong lyrics get stuck, even though you know that they are wrong! :) Misheard Lyrics is a font that most likely gets stuck in your design, because it has that bouncy and random look that makes your text come alive - without overdoing it!

Linsingen is a font family inspired by Brazilian tea barrel labels printed with lithography in the beginning of the 20th century. The family consists of three styles - Linsingen Vintage, which preserves the shapes found in the original prints; Linsingen Moderna, a contemporary interpretation of the original shapes, with increased contrast and sharper lines; and Linsingen Stencil. All of the three styles are suited for titles and headlines.

If it's dog friendly, it must be something good! Actually, I was never really into dogs, not until me and my wife decided to get a dog. We got a French Bulldog and life hasn't been the same since! I found out that I love dogs, and especially French Bulldogs! This font is a kind of tribute to everything good that has to do with dogs! :)

Fighting American and all around Superman Ed McGuinness joins our Masters of Comic Book Art with a font inspired by his gamma ray saturated handwriting! Ed is officially a friend of Comicraft and a big smile in Hulk form! Now a small slice of this Jolly Green Giant is available as an alphabet waiting for puny humans to arrange in words of no more than two syllables.

Cuisine originated from a how-to lettering book from the 1950s. It suggests the script style found on food and beverage labels in the early 20th century. This creamy font does for food advertising what Bodoni does for haute couture. Its simmering, hand-scribed charm captures the complexity of wine and the robust energy of coffee. It shines on luxe food packaging or high-end menus

This quaint little charmer was found under the same name in the 1893 Cleveland Type Foundry specimen book. Slightly quirky and naively elegant, it's the perfect choice for everything from invitations to headlines. It also contains a few alternate characters in the ASCII circumflex and tilde positions to spice up your layouts. Both versions of the font contain characters to support all major European languages.

The uppercase letters of this magical, mystical face is based on various alchemical symbols used from the thirteenth through the sixteenth century; the lowercase letters are based on those found on a 1935 poster, signed simply “Strekalovsky.” Ideal for adding a little pocus to your hocus, or cadabra to your abra. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This is a live recording from Mars: Your planetary system is about to be invaded by the inhabitants of Mars. We come in peace, we come with party! Heh-heh. Say hello to my interplanetary font, Message from Mars. Handmade, yet super digital. Play around with the weird shaped letters, and make your own galactic text - use upper- and lowercase as well as the alternate version

Inspired by quick handwritten graffiti tagging around city, we are make this graffiti typeface called Gangstown. This font comes with contextual and stylistic alternates that way easy to use, multilingual glyphs, and swashes too. Create your uniquely mix combination with swashes and alternates. Your project will look cool while using this for project like tagging, product package, ads, title, headlines, logo, stickers, apparel, etc.

The inspiration for this typeface was found tucked away in what is arguably the worst book of advertising clip art ever published (cleverly entitled The Advertising Cartoon Clip Art Book from 1971). It’s so bad, it’s good—at least at getting your attention. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

In 1994 I took a picture of an old movie marquee in Times Square, New York City. 7 years later, I decided to design a typeface based on the big plastic letters found in those old marquees. I scanned in the picture I took and began to draw the letterforms. Like most of my font designs, the initial inspiration came from an urban environment.

Pack your bag, Reisebüro is about to take you on a romp to the most wunderbar destinations around the globe. This quirky and playful display font is inspired by hand painted lettering. Pick a city from the list in the travel agency’s window and book your flight—your glass of champagne will be waiting for you in First Class. 4 Styles included: Regular Oblique Thin Thin Italic

Haunted Gallery is a fun horror typeface with classic letterform. You can play around with the ligatures.This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded

Now here's a font with an unusual backstory. You may recall that a while ago we discovered that Tim Burton was using an outdated version of one of our fonts for the interior titles in his The Corpse Bride. Well, our quest to get hold of him didn't bear any immediate fruit, but in a totally unrelated event we were contacted by the graphic arts company working with the overseas distributors for The Corpse Bride and it turned out that they needed a font based on the main title of the movie so they could keep the same style when they retitled it into other languages. The original title was either hand lettered or a heavily modified font, bearing some resemblance to our Ligeia and Tuscarora fonts, so we had to create a whole font more or less from scratch and extrapolate most of the letters from the very limited sample in the original title by identifying certain consistent characteristics and building new characters around them. It was a lot of work, but the good news is that they didn't want exclusivity, so we've got the font to add to our collection. We ended up calling it Beynkales which means 'Bone Bride' in Yiddish, which makes sense given the context of the movie. So here it is, in all its tattered glory, and bound to end up in our Halloween font selection later this year as well. Beynkales Alternate is a companion font that includes a full set of alternative upper and lower case characters which can be used on their own or in combination with the characters from Beynkales to create a more varied and handwritten look.

Youthful Fontsmith received a brief to develop a font that would form part of the broadcast identity for the UK’s first digital Freeview channel – E4. It needed to work seamlessly in text and display, both in print and on-screen, and please the eye of the target audience, 18-34-year-olds. So, young, fresh and informal. No problem. Except for one thing: the timing. Daughter As he worked on FS Maja, Jason Smith was occupied by another imminent deadline: the birth of his third child. The pressure was mounting, but rather than let it get to him, Jason embraced the challenge and made light of the tension, fashioning a bright, bubbly, entertaining type with a personality made for memorable headlines. Beautifully random FS Maja’s soft, rounded shapes and assured, fluent lines encompass lots of notable features that contribute to its warm, fun-loving personality, including: a very large x-height; a short, rounded serif to allow for close spacing and give texture to body text; a slight convexity, or bulge, in the stroke terminals; a calligraphic fluidity in the entry to the down-stroke of most lowercase letters; open, generous curves, especially in the “B”, “P” and “R”; and a “w” made of two “u”s.

ATF Poster Gothic is an expansion of a typeface designed in 1934 by Morris Fuller Benton for American Type Founders. The one-weight design was a slightly condensed display companion to Benton’s ubiquitous Bank Gothic family. This new family of aggressively rectilinear headline types expands the design’s possibilities, offering 30 fonts. The all-cap design sports square corners in the counters, creating tension between angular and curved details; this feature, and the generally rectangular shape of the whole alphabet, makes ATF Poster Gothic distinctive on the page or screen, while its relationship to Bank Gothic makes it seem somehow familiar. Vertical strokes on the C, G, J, and S, as well as on several of the numerals, are cut off at an angle, which suggest the curves those strokes might typically display if the characters were less boxy in design and more along the lines of late-19th-century headline faces. Certain weights also recall the style of lettering used on athletic team jerseys, television crime dramas, action & adventure movie titles, and engraved stationery. With three widths and five weights, ATF Poster Gothic is distinctive and versatile at the same time. The full family is also available in a “Round” version, with corners subtly rounded for a softer, more “printed” feel.

Clean, crisp, rational, familiar, modern… serifed. Positype Scotch reaches back to history just enough to produce something warm and easy on the eyes. No corners were cut, no quick tricks… this type suite was drawn for specificity: Text, Display, and Deck… ALL in 3 widths that now include Condensed and Compressed. Each unique, each inter-connected, each part of the whole. Scotch Text is offered in 6 weights with matching true italics. Drawn for economy and an easy read, the family is a workhorse for long-passage text settings. 4 sets of numerals, well-proportioned small caps, and a plethora of extras round out each font. Scotch Display is not just a thinner version of Scotch Text wrapped in a higher contrast. Display sports shorter ascenders and descenders, a unique footprint, great contrast, and a more folded, calligraphic italics. Display subtly oozes sophistication and provides an attractive, exhuberant companion to Scotch Text. Scotch Deck rounds out the offering by choosing to be specific to its offering. Deck utlitizes traits and proportions shared between Text and Display, but alters its overall mass to balance out the needs for settings that require subheadlines, callouts and other similar uses. Essentially, something not so high-contrast and not so stress dense that works great for middle-sizes.