Dripps is a handpainted, stenciled typeface with lots of drips and two different sets of capital letters – no lowercase. Sometimes I enjoy doing the rough stuff, your brutal type designer Gert Wiescher

Chamferwood JNL is another interpretation of the block lettering style most popular during the late 1800s and the early 1900s. The design was modeled from examples from a set of wood type.

Harrumph is a fat poster style font with a retro look. It comes with contextual and stylistic alternates for every letter and has more diacritics than you can poke a stick at.

Bold Living is a remarkable display font that brings an unmatched style that seamlessly complements a vast range of projects, amplifying their distinctiveness and leaving a lasting impression on your creative works.

Molga is a modern and elegant sans serif font. It has a lot of stylistic alternates to create unique and beautiful words for Logos, headlines, Invitation cards, Wedding logo, and many more.

Tylbor was inspired by vernacular German typography but mostly by handwritten signs found on the archive photographs from the late 40s of the 20th century. Tylbor contains 14 styles in 7 weights.

Designed by the swiss Haas'sche Schriftgiesserei, (Haas Type Foundry) Chevalier is a set of shaded capitals and figures, modern face or fat face in design. Ideal for business cards and classical letterheads.

"Chubs," a typeface specifically designed for large display sizes, perfect for making a bold statement. Each letter in Chubs has been meticulously crafted to possess a thick and prominent appearance, ensuring that your designs leave a lasting impact on viewers. Chubs's distinctive weight and blackness make it an ideal choice for a wide range of applications, including posters, packaging, and logos. Whether you want to create eye-catching promotional materials or design a powerful brand identity, Chubs has got you covered. Within the Chubs typeface family, you'll find two distinct styles, each with its own personality and visual appeal. The first style, "Chubs Black," features letters with a captivating slit, reminiscent of a belly that overlaps. This distinctive groove adds an extra layer of visual interest and uniqueness to your designs. On the other hand, "Chubs Filled" offers a solid and plump appearance, without the characteristic slit. This style amplifies the chubby nature of the letters, resulting in a bold and impactful display. To further enhance your creative options, both styles within the Chubs family include an alternate character set featuring a wink shadow in every letter. These additional characters provide a touch of fanciness and playfulness, allowing you to experiment and add unique elements to your designs. Choose "Chubs" for your next big project, and witness the boldness and charm that sets your designs apart from the rest. Let Chubs bring your ideas to life and make a powerful visual statement that captures attention and leaves a lasting impression.

Bodoni Terracina is a legible, fun-formal script face, with lots of curls. Sometimes script faces are hard to read. Sometimes being formal means that there’s no personality and there’s no fun. Enter Terracina: one of the masterpieces of font design. Some of the most personable italics ever carved. Includes powerful new features for: • Dates • Pricings • Addresses Not is only Terracina formal but fun, it’s also fun to use! In a program like Adobe Indesign or Illustrator, just highlight a word and see lots of fun options. Bodoni himself etched these symbols, and his fun-loving personality shines through. As a semi-script, it can go together with many script fonts, but it is more readable. When you need something equal parts elegant and whimsical, Terracina strikes a perfect balance to let the fun shine through, such as for holiday designs or fairytales. Terracina is a subheads font, but Bodoni also used it for paragraphs. So Terracina works well doing subhead paragraphs, especially when contrasting with the mood of the first font. And because of the swash variety, it works well for setting German and other European languages. CAL Bodoni Terracina is a member of our Origins Series. Origin Fonts are designed to be true to the original designer's intentions and fonts. Our Bodoni origin fonts ARE Bodoni fonts, not imitations or interpretations. They were drawn by Bodoni, our team just expanded it for modern use. For Terracina, Bodoni's original weight is the "Quasi-Lite" option, all other weights have been meticulously matched by the CAL Origins Team.

Rizado Script is a classy one-weight script typeface, made with “dolce vita” in mind. Its high contrast and pointy tone are recalling the fine nib handwriting of a meticulous and decisive person that hasn’t got free time to spare but surely knows how to enjoy his life. No quick and dry strokes, but rather wide, elegant and strong-minded temper that will bring a long-lasting touch to your packaging layouts. Sure, if you are looking for a good fit for some more ephemeral design such as a weekend high-class cocktail promotion, or a wedding invitation – this handy display typeface won’t let you down for a second. If you happen to go to Venice and enjoy their popular Aperitivo, you’ll be asked to choose between three types of bitter-reddish base drink. Rizado will bring you the same amount of pleasure, authority and uniqueness while you pick out one of the three ampersands or other alternate characters. According to the concept of Fellini’s lifestyle, “la dolce vita” is a luxury lifestyle full of cheerful worldly pleasure. But don’t let yourself be fooled by this moto, because Italians are famous for their modesty and sagacity as well. That’s why you’re always supposed to turn on the Contextual Alternates (to activate extra positional forms — isolated, initial and final) and keep your voice down and never set this typeface in all Capital letters. There are 391 total glyphs made to support West European, Central European and South East European languages.

TA Regresso PRO graphic presentation at Behance TA Regresso PRO font is inspired by Didon and Bodoni fonts. A combination of a little Bodoni and a little Didon elements and a unique style and Text, Display, Subhead and about 80 styles, it is a font that gives the user a choice. TA Regresso font supports Greek, Hebrew, Cyrillic and Latin alphabets. After starting work on the font since February of last year, the font is ready today with constant revisions. Being open to learning, I sought help from experienced designers. I must mention that Yulia Gonina, the founder of Schrifteria Foundry, also helped me a lot to make Regresso good. With her knowledge and advice, the flaws in the font were eliminated. By the way, Viktor Baltus also helped me with his valuable advices. I did some research about the alphabets of the supported languages so that Regresso is good. I paid a lot of attention to the correct design of the letters. I will fix the problems I missed in the next updates of the font. I would be happy if you send me your work when you use my font. I'm very interested in where you use my font. TA Regresso PRO contains 200+ Latin and Cyrillic, Greek, Hebrew languages. TAFT produce retail typefaces, create custom fonts and even do Greek, Hebrew and Cyrillization. Our mission is to create and distribute only carefully drawn, thoroughly tested, and perfectly optimized typefaces which are available to a wide range of customers. If you're looking for a type or logo → t@taft.work

Introducing Tanamera: Your Portal to Psychedelic Nostalgia Product Description: Unleash the vibrant energy of the '60s and '70s with Tanamera, the ultimate psychedelic type display font that channels the essence of retro vintage style. Whether you're designing a groovy poster, an album cover, or revamping your branding, Tanamera is your ticket to a kaleidoscopic journey through time. Key Features: 1. Psychedelic Vibes: Tanamera captures the essence of a bygone era, where peace, love, and creativity reigned. Its mesmerizing swirls and curves will transport you to the heart of the psychedelic revolution. 2. Vintage Aesthetic: With carefully crafted glyphs that pay homage to the fonts of the past, Tanamera adds an authentic touch of nostalgia to your projects, effortlessly embodying the essence of the retro era. 3. Endless Customization: Tanamera comes with a variety of alternates and ligatures, providing you with endless possibilities to create unique and eye-catching typography that stands out from the crowd. 4. Versatile Usage: Whether you're designing for print or digital media, Tanamera adapts seamlessly to various applications, from posters, branding, and advertising, to websites and social media. 5. High-Quality Craftsmanship: Crafted with precision and attention to detail, Tanamera is a high-quality font that ensures crisp, sharp lines and smooth curves, making it perfect for both small and large-scale projects. 6. Easy to Use: Tanamera is user-friendly and compatible with popular design software, ensuring a smooth and hassle-free integration into your creative process. Why Choose Tanamera? Tanamera is not just a font; it's a portal to the past, a gateway to a world of vibrant colors, free-spirited expression, and boundless creativity. It's your chance to infuse your designs with the unmistakable energy and style of the psychedelic era, creating a visual experience that captivates and enchants your audience. Let Tanamera be your guide to reviving the past while embracing the future. Elevate your design projects with this captivating font, and watch as your creations come to life with the magic of retro vintage style. Get Tanamera today and embark on a journey through time that will leave a lasting impression on anyone who sees your work.

Nahid is a sans-serif font family designed by Naghi Naghashian in 3 weights: Nahid Light, Nahid Medium and Nahid Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Nahid supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Nahid fulfils the following needs: 1. Explicitly crafted for use in electronic media fulfils the demands of electronic communication. 2. Suitability for multiple applications. Gives the widest potential acceptability. 3. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. 4. An attractive typographic image. Nahid was developed for multiple languages and writing conventions. Nahid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. 5. The highest degree of calligraphic grace and the clarity of geometric typography.

Boatman Font – 3 Styles + Extras We introduce our new font called Boatman. Boatman is a (All Caps) vintage display font inspired from classic whiskey labels, vintage labels and sing painting. Boatman comes with 3 styles (Regular, Outline and Stamped) that extends the possibilities when you design something. Boatman also has the Stylistic Set. With the Stylistic Set, Boatman gives you so many options to create something awesome. Mix and match the alternate characters to add an attractive message to your design. Furthermore the Boatman includes a Set of Ornament Labels which perfectly complement text compositions. You can see it on my presentation examples. Boatman is great for Logotype, Branding Design, Logo Design, Badges, Digital Lettering Arts, T-Shirt/Apparel, Headline, Posters, Magazine, Signs, Advertising Design, and any vintage design needs. Boatman Features : - All Caps Characters, Punctuation, Numerals. - Opentype Feature such as Stylistic Set. - Fully accessible without additional design software. - Includes a range of multilingual characters. - Ornament Labels You can access all those alternate characters by using a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y

The Vtg Stencil fonts from astype are based on real world stencils from several countries. In the case of French stencils the challenge was special, because of the varieties of different widths and weights between the stencil sets – so I made France No. 1, No. 3 and No. 5. The most unique and eye-catching elements of typical French stencils are the figures 1, 2, 3, 7 and a specially 5. The figure 5 changes in style on smaller stencil sizes, its bobble getting replaced by something like a “breve”. The letters J and Q can differ in style too. While the local stencil lettering styles are gradually disappearing in other countries, there are regions in France, such as Normandy and Brittany, where these stencils are still in use today. They are used for technical lettering, which is what stencils were originally intended for, but also for ads and information signs in a more artistic or patriotic context. Over the time, these stencil letters became a globally recognized landmark of French design and French taste. All styles offering an extended Latin character set. » pdf specimen «

Hologram is a font inspired by a combination of the future and the past. The intention was to design a font that was most effective when applied to Largely Displayed text like Headings, rather than for smaller extended bodies of text. There are 3 distinctive styles offered in the Hologram font family. Each style contains over 350+ Glyphs per style with support for up to 26 Languages as well as specialised kerning & spacing. Display Sans: This style is the cleanest of the 3 fonts. There are no serifs attached to the ends of the strokes, although the stroke weight is varied from thick to thin depending on the letters. Display Serif: This style contains modern serifs at the ends of most character strokes that give more structure to the shapes. A majority of the serifs are horizontal in direction with few characters containing vertical serif details. Display Wedge: The most Bold of all is the Wedge Serif style offered. Featuring thick and thin triangular serifs at the ends of character strokes. This style is most effective in Large Displays & Titling uses. Designed by KAZER STUDIO

CONCEPT/ CHARACTERISTICS The lava/soap/pudding character of the font reminds us of a modern bitmap pixel font. »Curly lava bubble« goes even further. The rectangular hard edges expands to soft and almost organic forms. APPLICATION AREA The fancy, modern & decorative font »curly lava bubble« would look good at dis­play size for party flyer & movie pos­ter, music covers or head­lines in maga­zi­nes or websites… TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Decorative Font »curly lava bubble« with 3 stlyes (light, regu­lar, bold) & 305 gly­phs inkl. accents & € KONZEPT/BESONDERHEITEN Der Lava/Seifenblasen/Pudding Charakter der Schrift lässt an eine moderne Bitmap Pixel Schrift erinnern. Wobei »curly lava bubble« noch weiter geht und die harten rechteckigen Kanten zu weichen und fast schon organischen Formen ausbaut. EINSATZGEBIETE Der Font würde sich über fol­gende Gebiete sehr freuen und sich dort wohl füh­len: Logos/Wortmarken aller Art, Flyer für fast jede Party, Plat­ten­Co­ver, CD-Cover, Pla­kat­De­sign, Game- und Video­spiel-Design aller Gen­res, als Head­line­schrift für print und digi­tale Maga­zine, Bücher, Web­sei­ten… TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Deko Font »curly lava bubble« Open­Type Font mit 3 Schrift­schnit­ten (light, regu­lar, bold) & 305 Gly­phen inkl. dia­kri­ti­sches Zei­chen & €

We’re really excited to unveil our all-new line of ‘HAND SHOP FONTS’. As the name suggests, these are fonts that have a hand-made or hand-typography feel reminiscent of shop signboards from the past with an attentive focus by the shop owners, always looking to discover exciting and unique ways to promote their products or services. While for decades typography has strived hard for perfection, one of the routes taken by the typography world as a whole has been to eliminate any form of ‘human imperfection’ in the typesets, but what about the times when you DO want to send across emotions of a personal human touch through your fonts? We did a step back...these fonts will give your shop-signs a personal touch, telling your buyers that they will get personalized attention, be it through an online or an offline business…We hope you love them as much as we do. The “Hand Shop EXTENDED Pack” containing a total of 14 fonts from the “Hand Shop Banners & Elements Pack” (3 fonts) , the “Hand Shop Typography Pack 01” (8 fonts) and the “Hand Shop Typography Pack 02” (3 fonts)

The Pattern Project is an ornamental display type family. It is inspired by medieval initials and transforms their mesmerizing rhichness of detail into cool state-of-the-art typography. All letter shapes and patterns are exclusively geometric, providing a very distinct and contemporary feel. Pattern is the new sexy – perfect for vodka labels, record sleeves and posters. For editorial design and packaging. With a special typographic impact. Some practical details: - Family consists of 9 diverse patterns + a blank version. - 3 weights available. - As with patterns in general: It is quite essential how far you zoom in to change the graphic impression. 3 pattern resolutions (Coarse, Medium + Fine) allow varying the pattern size independently from the font size. - Each pattern comes with diverse weights and/or pattern resolutions. - Use in display sizes only. The bigger – the better! - Fine pattern resolutions require even larger font sizes than coarse resolutions. - Fonts gain kind of ʺtransparencyʺ through the patterns - handy for use on top of images. - Characterset is caps only and supports Central, Eastern and Western European languages. - Entertaining 2 min movie explaining the basic concept: youtube.com/watch?v=wbuUkRDApzs

Milton Glaser’s Kitchen Typeface from the mid 1970s exemplifies the bold 3-D art deco revival genre that was a trademark of the Glaser style. This typeface resulted from his involvement in the design of the The Big Kitchen in the World Trade Center’s concourse in New York City. The new P22 Glaser Kitchen takes on the technical challenge of overlapping 3-D shadows by offering two styles. P22 Glaser Kitchen Regular is spaced out so that the shadows do not overlap the white spaces of the neighboring letters. Whereas the P22 Glaser Kitchen 3D Fill and 3D Shadow can be used layered on top of one another to achieve the tight spacing intended by Glaser. P22 Glaser Kitchen was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Typographic punctuation and sorts were imagined by James Grieshaber to work with Glaser’s design, as well as diacritics to accommodate most European languages. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

Introducing a new vintage font called “Hostel Vintage“. Inspired from vintage typography and lettering in the 70’s and 80’s combine with bold typography style. With a total of 534 glyphs with 359 alternate, you can make letter combinations for lettering with a lot of options. Come with open type feature ( a lot of alternates and end swash), its help you to make great lettering. Hostel Vintage best uses for Logotype, heading,cover, poster, logos, quotes, product packaging, header, merchandise, social media & greeting cards and many more. This font is also support multi language.

Font breeding is much like animal breeding, where stallion and mare, or bull and cow, or boar and sow are carefully matched in hopes of yielding a robust and useful offspring. When typefaces RoundUp with fat, rounded serifs and WyomingSpaghetti with fat, squarish serifs were chosen to be parents, it was clear that their offspring would inherit large serifs. But to discover exactly what the offspring would look like, the pairing needed to be consummated, which was done with the “Blend Fonts” commend in Fontographer. The two styles of RoundWhy are the result.

Sébastien Truchet designed a modular typographic system during his last year in the School of Fine Arts of Besançon. The system is made of a unique grid and 6 modules which are the components to build several typefaces. The most radical is the "2-2". The last one is the "10-12". This is the 4-4. It is built into a square grid. Four modules in width and in height. This font proposes to you two appearances : the caps are blackest and the small letters are more open.

Yngreena is a serifed typeface with calligraphic origins. In updating it in 2011, I began to add alternative letters and reached the point where it made sense to create an alternative family of faces rather than include all the alternatives as part of an OpenType font. The letters K, R, V, W, Y, f, g, k, t, v, and w are tamer in Yngreena Alt. As a result, though it is still a decorative text face, Yngreena Alt is better suited for lengthier blocks of text than is the original Yngreena face.

Years ago the company that developed Fontographer marketed a program called Font-o-Matic, a program that distorted fonts in various ways. 99% of what it produced was garbage, but every once in a while it would yield something interesting. Since I had designed a lot of typefaces by that time, I had lots of material to feed it and it was fun to see what it produced. YahoschWormy is one of rare results that was interesting enough to save and clean up. The source font was Yahosch.

Years ago the company that developed Fontographer marketed a program called Font-o-Matic, a program that distorted fonts in various ways. 99% of what it produced was garbage, but every once in a while it would yield something interesting. Since I had designed a lot of typefaces by that time, I had lots of material to feed it and it was fun to see what it produced. KolkFizzy is one of rare results that was interesting enough to save and clean up. The source font is Kolkman.

Years ago the company that developed Fontographer marketed a program called Font-o-Matic, a program that distorted fonts in various ways. 99% of what it produced was garbage, but every once in a while it would yield something interesting. Since I had designed a lot of typefaces by that time, I had lots of material to feed it and it was fun to see what it produced. BaumSquiggle is one of rare results that was interesting enough to save and clean up. The source font is Baumfuss.

🏆 Selected for Tipos Latinos 9. Dona is a non-boring sans serif. While very legible in text sizes, its friendly details really come to life on headlines, packaging and visual identities. To make it even more interesting, Dona Alt brings a different feeling with just a few different glyphs. The Dona type family comes in 5 weights, from Regular to Black, matching italics and an Alt version, totalling 20 fonts. If you need even more control, variable fonts are also available. Each font contains 528 glyphs and supports over 200 languages.

Manuscript Felice blackletter font family with 2 styles. This font family based on vintage Italian Processional manuscript. The book block has disintegrated, and I don’t know who is the author. Luckily I found the last owner, Felice Osio and the last date 1634. That's all) I manually redesign original and regular style fonts from this folio. Also, I’ve added some modern symbols. With this set, you can precisely imitate medieval style text. You’ll get: * Initials & Regular styles * Uppercase and lowercase * Multilingual support * Numbers * Symbols * Punctuation * Ligatures Best, Roman. Thank you!

My 9-year old son Sam asks a lot (a LOT!) of questions. Like: ‘what killed the dinosaurs?’ (probably an asteroid), ‘what is the distance to Pluto’ (about 7.5 billion km), ‘how big is space’ (93 billion lightyears - give or take). I am pretty sure he asked me about gravity as well. Gravitational Pull is a messy pencil script font. It comes with a whole bunch of double-letter ligatures and some really wonky glyphs. And no, in its virtual form, this font is not subject to the Earth’s gravitational pull.

Frank Flowers are fonts with flowery embellishments. They are useful for all kinds of celebrations, but they also have lots of impact. There are only uppercase letters even on the lowercase keys. Uppercase and lowercase look different, so you can mix them. You can even mix the two sets, it'll look great. I had a lot of fun doing these fonts and I want you to have some fun as well. That's why I sell them very, very cheap, even cheaper if you buy the pair! -Your typedesigner for unusual solutions Gert Wiescher

A bold retro-future font ~ cosmic, weighty & groovy. Each letterform began with a rounded edge box as the base and ovals as a way to create negative space. In instances where the oval was not enough, a series of simple additional arced or straight cuts were made. What resulted is a unique and original font with a lot of personality. Stylistically, the font has a space-age vibe while possessing sleek, futuristic characteristics that ultimately make it feel fresh. It is not meant to be a go-to font for articles with a lot of text, but meant to expand ones library and in the right moment it will bring a lot of energy and major impact. Please note that this family has a limited character set and does not contain €, $, ¢, £, ¥ and other punctuation marks. Please check the glyphs tab to ensure this font will work for you!

Annlie™ Extra Bold and Annlie Extra Bold Italic are two display faces designed by Fred Lambert in 1966 for the Annlie type family. These two samples from the Annlie family are both fat faces. Fat faces were offshoots of the modern, or Didone, typefaces that were de rigueur during the early 1800s. These fat faces were among the first typefaces to be used solely for advertising purposes. Naturally, they were always used in larger point sizes, in display functions. Annlie could be called an optimization of these old advertising typefaces. With high x-heights, ultra contrast between thick and thin strokes, and perfectly engineered drawing techniques, Annlie is a highly crafted typeface. Give it a spin in your next advertising campaign! Annlie’s fine thin strokes are very graceful in their appearance, and lend a strong, yet soft, feminine feeling to anything they touch.