73 icons on the topic »coffee house.« The extensive kit includes the category’s coffee, drinks, food, coffee makers, roasted coffee and tea. The clear design is adapted to mobile interfaces and suitable for print, as well.

Introducing "Hosperity" – a captivating handwritten script font that blends artistic elegance with modern flair. Crafted by a talented font maker from Indonesia, this font is a testament to creativity and precision. With its flowing strokes and unique character, "Hosperity" adds a touch of personal charm to your designs. Whether you're designing invitations, branding materials, or any creative project, "Hosperity" is your ideal choice.

Every morning, after the kids have gone to school, I vacuum the floor and remove about half a kilo of breadcrumbs… No, not really have a kilo, but any given bird could probably survive on the leftovers. When it was time to name this font, Breadcrumbs was all I could think of! Breadcrumbs and children seem to go together well, as they are featured in Hansel & Gretel and Hop-o'-My-Thumb. Breadcrumbs font is a happy, sloppy fairytale font, which you can use for your book covers, your party posters and maybe crumbly bread packaging. But that is entirely up to you.

PL Fiedler Gothic Bold is a display sans serif designed by Hal Fiedler. The distinguishing characters in the PL Fiedler Gothic Bold font are lower case q and t.

It's Tushy not stussy, even it's Pretty but ain't lazy. yoo what's up, this font is dedicated for you to be your crafting material. Super ready for any craft project as branding image, any tags, card maker, invitation card, greeting card, wedding decoration for your farmhouse wedding or rustic look, or decorative material.

RMU Trifels is a revival of Heinrich Wieynck’s great design which was released by Bauer in 1905. This beautiful Art Nouveau font comes with a long s and a historical form of the letter H. Border and adorning elements were added which you can reach by typing [alt] + P and [alt] + p.

Walking around Paris looking for inspiration for our latest people font, we encountered chic Parisians, yummy food markets, and bakeries on virtually every street corner with delicious baguettes and pastries. We were surprised how many people were cycling, motorcycling and rollerblading along the vast boulevards and side streets of Paris. We spotted classic French cars like the 2CV and Citroën CX and watched the world go by in one of the many sidewalk cafes whilst enjoying a 1664 or a café crème. With our latest people font, Paris, we tried to capture this unique Parisian atmosphere and hope we succeeded. All 64 illustrations are based on photographs taken on location over a period of time. The photographs are then hand traced to create high quality, detailed silhouettes.

Manufacturer JNL is a reinterpretation of the classic type face Venus Extra Bold Extended, and is available in both regular and oblique versions. According to Wikipedia: “Venus or Venus-Grotesk is a sans-serif typeface family released by the Bauer Type Foundry of Frankfurt am Main, Germany from1907 onwards. Released in a large range of styles, including condensed and extended weights, it was very popular in the early-to-mid twentieth century. It was exported to other countries, notably the United States, where it was distributed by Bauer Alphabets Inc, the U.S. branch of the firm.”

This slick, marker style font was created by our fontmeister, Mr Fontastic, based on the slick, marker style of... Well, Mr Fontastic himself! Check it out in the pages of Marvel's classic DAREDEVIL story GUARDIAN DEVIL. DD scribe and indy movie maker Kevin Smith himself told us it was the coolest font he'd ever seen in his entire life! No, sorry, that is a lie, but he did tell us he liked the design work Mr Fontastic created for the JAY & SILENT BOB trades, No, seriously, he did. We wouldn't lie to you. Well, except for that last time. By the way, this font also doubles as a dynamite sound effect font, that's why we're charging you twice as much as usual. No, sorry, lying again. About the price, not the sound effect thing.

Lunanic is a geometric novelty typeface family with a touch of graffiti. The letters are formed from a circle with a notch or nick taken out, a shape that reminds me of a partial lunar eclipse. Half of the family have the nick on the left and half on the right. The faces are monospaced and so tightly spaced that there is no space between most of the letters so the filled styles cannot be used alone without tweaking. There are several ways to tweak them to make them readable: adjacent letters can be colored differently, the characters spacing can be increased, or an outlined style can be layered on top of the filled letters. The family does not have a true lower case. Most of the characters in the lower-case slots are alternates for those on the upper-case keys and they can be mixed in whatever way the user finds best. The family has twelve members: two orientations with three weights each and each of these six has an outline style to go with it. Lunanic is fun, bizarre, weird, and obviously a decorative display font.

Inspired by Alf Becker's Rounded Block letterstyle. Nice 30's/40's era appeal.

Originally designed in 1998 as a 3-font family, updated in 2016 by new italics, small caps and many OpenType functions, resulting in a set of highly visible poster typefaces. If a  text is set in a  good Egyptienne, we can observe a  kind of sparkle in the lines. Slab-serifs are cheerful typefaces, possibly due to the fact that they developed simultaneously with Grotesque typefaces. The design principle originating from the first half of the 19th century does not have such firm and long-established roots as for example, the Venetian Roman typefaces, hence it’s much more prone to a  “decline”. We know of Egyptiennes with uneven color, with letters falling backwards (this often happens in the case of “S”), and especially with slightly bizarre modeling of details. In the course of time, however, it was realized that such things could be quite pleasant and tempting. After a  century and a  half, we find that such Egyptiennes could refresh uniform computer typography. The forms of many twisted letters resemble the gestures of a  juggler: others, rectangularly static ones, reflect the profile of a  rail or a  steel girder – things which, in their times, were new and were observed by the first creators of Egyptiennes. These typefaces are ideal for circus posters and programs for theatre performances, just as for printing on cement sacks.

Storefront is what the prolific and talented American sign painters of the 1920s and 1930s would have created if they had access to the advanced lettering and type technologies we have today. Rooted in an incomplete Alf Becker alphabet sample, Storefront is my usual overdose on alternates and swashes, my eternal attempt at giving typesetting that ever-elusive handmade impression. Though the main shapes, especially the majuscules, are almost a standard recitation of the natural evolution of nineteenth century scripts, the additional variants available within the font provide a leap in time to what sign makers and packagers are doing today. I can honestly say that Storefront’s influences are probably less historic and more in line with my recent travels and frequent supermarket visits. It’s difficult to avoid current visual culture when you're constantly bombarded with it. Not that I try. I certainly welcome the overflow. I'm probably addicted to it by now. With a very cool aesthetic, plenty of alternates and swashes, extended Latin language support, Storefront is over a thousand glyphs for your branding, packaging, and sign making pleasure.

Woodruff was inspired by a piece of charmingly hand-lettered signwriters’ ornamental Roman seen on a half faded away brick wall, on the end of a row of shops. It has a naive hand drawn charm that lends a very special touch to posters, signage and headings. Woodruff is ideal where an atmosphere of primitive charm, with a little regard for aesthetics is required, and can be used in such situations without sacrificing legibility.

Header Maker combines rough and bold curves with a fresh urban edge; delivering a stylish script which is guaranteed to add an eye-catching appeal to your logo designs, brand imagery, quotes, product packaging, merchandise & social media posts.

The birth of the monospaced types dates back to the past. There was a need for the creation of typesets for typewriters. The difficulty was to align the different glyphs in the same width. This led to particular problems with letters like “M” and “l”; the former seemed to be squeezed into the same width of all letters and the second one appeared way too streched. Despite – or perhaps because of – the impression of the typewriter is still popular with Graphic Designers. Nowadays there are even monospaced versions of primarily proportional types; for example the the Sans Mono designed by Lucas de Groot or the DIN Mono. Then again, why not the other way round?! In the first half of the Nineties, Erik Spiekermann developed a proportional type named ITC Officina based on the Letter Gothic. According to a survey on the 100 best fonts of all time conducted by FontShop, ITC Officina is in an eighth place, far ahead of its forerunner. This was the reason for me to create a wider design with a Serif and a Sans Serif based on the queen of all monospaced types – the Courier.

Years before the many "modern" ways to creates signs and posters, the popular method was the rubber stamp printing set. Many of these sets used the classic DeVinne typeface, and were manufactured by at least a half dozen different companies. The "sign and chart printers" (as they were known) often consisted of both upper and lower case letters, numbers, punctuation, pointing hands and other symbols. "Hand Stamped JNL" puts all the fun of the rubber stamp printing set into an easy-to-use digital font with no messy ink spills or clean-up.

Nat Grotesk family consists of 14 styles including 6 narrow ones. It has a half-closed sans serif design with simple and clear lettershapes. Due to compact proportions the face is very space saving, but nevertheless it is rather legible even in small sizes. The bold weights demonstrate increased contrast. The font is recommended for text and display typography as well as for headlines and advertising. It was designed by Natalia Vasilyeva and released by ParaType in 2007. The upgraded version with extended character set was released in 2009.

The Latin family of typefaces, first popular in the last half of the nineteenth century, is characterized by its large, sharp, triangular serifs. With six widths (from Extra Condensed to Wide), Latin CT offers the most extensive collection of Latin fonts available, each with a large character set that includes support for all European languages including those that use the Cyrillic alphabet. From the sleek elegance of Latin CT Extra Condensed to the brash boldness of Latin CT Wide, you will find a width to fit your contemporary typographic needs.

If you've ever visited Spain or Portugal, you would have seen some beautiful Majolica (glazed tile) murals - often signage for long forgotten bakeries, butchers and clothing shops from the interbellum. Majolica font was named in honor of the artists who created these gorgeous glazed displays. Majolica font is an all caps, sans serif typeface with a 'streamlined' look. It comes with all diacritics.

Grafista is an extrapolation on what fonts are used for: in spite of the possibility to use it for setting text, Grafista strives when used as a texture library, the same way that one would set up tiles. Thus, Grafista was built as two different things compiled in the same font: the letterforms (for setting text) and the texture library. Both of the sets are monospaced (with every glyph having the same width), but the letterforms are half of the texture tiles' width. On the tech side, the letterforms are 500/1000 UPMs, while the tiles are 1000/1000 UPMs.

Etoxina is designed especially for the burgeoning market of starships and other space cruisers. Etoxina has been developed with the contribution of experts in navigation through space and time. The fonts are ideal for internal and external use (including zero-g and occasional bursts of cosmic rays), and with their simplified forms are expected to survive well in non-linear galaxies. With their unusual diagonal half-pixels the fonts are striking as abstract designs at astronomical sizes, where small text may be placed within the black holes formed inside the letters. On explicit suggestion of Mr. Spock true capital letters have been added.

Friar Pro is a revival of Frederic W. Goudy's "Friar" typeface. Goudy described this typeface design as a 'typographic solecism' as it combines a lowercase of half-uncial forms from the 4th through 7th centuries with an uppercase of square capitals from the 4th century. Steve Matteson developed the font as a tribute to Goudy and his joy of typographic exploration. Steve created a complete character set with OpenType typographic enhancements to give the font an authentic appearance to the original. Friar Pro is a beautiful design which imparts a scribal appearance to any document including greeting cards, certificates and official papers.

Itoxina is designed especially for the burgeoning market of starships and other space cruisers. Itoxina has been developed with the contribution of experts in navigation through space and time. The fonts are ideal for internal and external use (including zero-g and occasional bursts of cosmic rays), and with their simplified forms are expected to survive well in non-linear galaxies. With their unusual diagonal half-pixels the fonts are striking as abstract designs at astronomical sizes, where small text may be placed within the black holes formed inside the letters. On explicit suggestion of Mr. Spock true capital letters have been added.

When drawing a new font, there is a time when the final form is found – almost – but the curves are not slick and clean yet, that's what I call the "raw" form. Raw – no sweeteners added! In this family I redefined this moment in type development for the eternally beautiful "Franklin Gothic". I call the design "Franklin Gothic Raw". This packet is the semi-serif addition. There never was a Franklin-Gothic with serifs but actually the font lends itself perfectly to a slab-serif. I started with adding a half serif and eventually add a full slab-serif later on.

Delichia Font is a pairing of a bold connected script that moves in clean, sweeping dramatic gestures and rounded sans typeface. Inspired by the smell of a bakery, this font is a perfect ingredient to make your design look tasteful. Delichia Font is great to use for your logotype, restaurant menu, product labels, printable, branding, social media post and text overlay to any background picture.

Mesa is a revival of an old pointed Tuscan font from the MacKellar Smiths and Jordan type foundry called Broad Gauge circa 1874. This new version offers a few alternates including half slab and full slab uppercase A's. Opentype case sensitive forms are also included in the Mesa font family. We started production on this font in 2009 but set it aside to work on other projects, we're pleased to have finally finished it. If you're a Grillmaster or Pitmaster you're going to love this font for your new business logo t-shirts and other merch. To all you Grillmaster's and Pitmaster's out there, Keep On Smokin'

Based on an antique metal stencil plate used for identifying crates, bales or barrels, Stencil Piece JNL is one of the numerous stencil designs available through Jeff Levine Fonts. The type design is available in both regular and oblique versions.

Jazz up your project with Jarric. It’s a vibrant, bold and delightfully random hand-drawn font; an excellent choice for creators and makers. From attention-grabbing graphics and prints, to branding and creative projects, you’ll be sure to stop them in their tracks with Jarric. Jarric includes a upper and lower case characters, numbers, and full multilingual support

From the designer, Tim Ahrens... I started designing this typeface about half a year after learning that Frutiger was not a new brand of sweets and that Garamond is not the name of a fragrance. In time it became clear that designing a sans serif must always be considered as a transformation of traditional serifed typefaces instead of deriving it from typefaces that have been derived from others which have been derived from others again. I did not want Aroma to be one of those odourless and tasteless typefaces wich sacrifice a natural feeling and the characteristic shapes of the letters to neutrality. I think that beauty often evolves unintentionally. For example, I am fascinated by the beauty of airfoils, which are actually a careful transformation of a bird's wing. I love their anorganic and abstract shape which still bears the essence and all the complexity of what they are modelled on. This is exactly the formal concept behind Aroma. Many of the outlines are actually parabolics. The small r, for example, consists exclusively of straight lines and parabolics. I decided to give Aroma more stroke contrast than it is usual for sans serif designs. Many strokes are slightly convex, which gives the font an anorganic feeling. The font was intended to have a feel similar to the antiqua. More specifically, it is based on Old Style Faces. The character of those fonts, which were cut during the Renaissance, is still inherent to Aroma.

JT Collect is a hybrid sans-serif typeface for the 21st century that takes a playful approach to the type design heritages of Germany and Switzerland. Confidently built on a geometric structure and infused with elements from traditional grotesque typefaces, it hits the sweet spot between geo and grot. I developed JT Collect purely digitally, drawing from years of experience with analog type design. The letters aren’t based on one particular source but seek to merge different type genres from the first half of the 20th century and lift them to a contemporary quality level. JT Collect is less reserved than strictly geometric designs and brings some industrial workmanship and honesty into the game. The six weights plus three optical sizes of JT Collect offer what you need to make an impact. While cool and elegant in the Light weight, the fonts show more presence on the page as they grow bolder. To this end, I drew the letterforms with a slightly unrefined, brawny air in the bolder weights. This sets them apart from the perceived purity of more geometric designs. The Book weight is ideal for short texts and medium-length copy, and the forceful Bold makes wordmarks look crisp and lets headlines radiate cosmopolitan self-confidence. JT Collect is suitable as a primary typeface for branding, advertising, packaging, stationery, posters, documents, and websites from trades and industries as diverse as food & fashion, media & makers, culture & creators, games & gems, sports & startups. Use JT Collect for film titles or watch faces, for leaflets or store signs, for business cards or billboards: this font family is as adaptable as a chameleon (and like a chameleon, it’s never boring). Try it in different contexts. You won’t be disappointed. Its adaptability also makes JT Collect a great starting point for poised and persuasive font combinations. Even a sans/sans pairing is possible due to hybrid nature of JT Collect—something that’d be hard to achieve with most other sans-serif typefaces on the market. You can add to it a heavy slab from the OGJ library, like Temper Wide. You might go for a geometric or a grotesque typeface as secondary (text) typeface. Or you could set your body copy in a classic serif typeface such as Caslon, Sabon, or Plantin. That’s right: JT Collect is a true team player. Whether you need a grotesque or a geometric sans: try JT Collect. You can get the best of both worlds.

Eggnog is a slightly heavy typeface that renders very well at even very small typesizes and looks sharp in large headlines. This typeface is egg-ish in shape and we've included a half-dozen eggs in case you're inspired to have some eggnog for breakfast! Eggnog includes a large assortment of extended characters to support many of Europe's languages, including Czech, Danish, Dutch, Esperanto, Finnish, French, German, Italian, Hungarian, Polish, Portuguese, Romanian, Spanish, Swedish, Turkish & Welsh.

Legendary Legerdemain’s lovely assistant, Leggy is just that -- she’s tall, dazzlingly attractive in her tight-fitting clothes, and has legs right up to her neck! She looks good, strikes attractive poses, and gives LL room to make magic. Gasp as Legendary Legerdemain saws her in half! Cheer as she floats in the air! Look Away as Legendary Legerdemain makes her the target of his knife throwing act! See the families related to Legendary Legerdemain Leggy: Legendary Legerdemain.

Birch was designed in 1990 by Kim Buker Chansler, who based her forms on the designs of the turn of the 20th century. The new age needed new typefaces for an ever-increasing commerce and its advertisements. This time period therefore saw a profusion of new typefaces, all of which were meant first and foremost to catch the eye of consumers. To this end, style elements of past ages were reused, changed, and combined. Birch is modelled after a woodtype, a style made famous by its use on wanted posters in western movies. The narrow and space-saving Birch is perfect for headlines in display point sizes.

Arthur Baker's display script Sassafras, designed in 1995, is based on the natural inline effect created when writing with a split-metal nibbed pen. Black and white are nicely balanced, giving this calligraphic face a remarkably smooth appearance. The regular and italic versions of Sassafras include two alternate faces: one with long, tall ascenders and regular-length descenders, and one with shortened ascenders and descenders that allow it to fit where its companion might not. In both, the ascenders increase in width as they move upward, while the descenders taper to a fine point. This variety of form makes Sassafras a very flexible choice for display work.

"Sambia" is a geometric sans-serif, straight, extra condensed, monoweight font, accidental with sharp corners and closed aperture. The font family consists of regular and bold fonts. Typeface is great for headlines, logos and posters. The typeface is inspired by the Bauhaus style and tributes to the first half of the 20th century era. It has concise rounded forms, geometricity and a small letter-spacing. - Uppercase and lowercase letters - Numbers, punctuation and symbols - Multilingual support (Latin, Latin Extended, Cyrillic) - Support for more than 20 languages: Albanian, Belarusian, Bulgarian, Croatian, Danish (Norwegian), Estonian, Finnish, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Moldovan, Portuguese, Russian, Slovak, Slovenian, Spanish, Swedish, Turkish, Ukrainian and others

The typeface “YOGA Dingbats Symbols Set” is designed at 2022 for the font foundry Beewest Studio by B Wisudyantoro. The Basic Icons Set is a display typeface that inspired by the Yoga poses such as : Adho Mukha Shvanasana, Ardha Chandrasana, Astavakrasana.Baddha Konasana. Ankusasana from Sritattvanidhi. Bharadvajasana. Bhekasana. Bhujangasana. Bhujapidasana. Bidalasana. Marjariasana. Chaturanga Dandasana. Dhanurasana.Backbend. Durvasasana. Garbhasana . Vrikshasana,Tree pose,Garudasana, Eagle pose, Parsvakonasana, Side angle pose,Trikonasana, Triangle pose, Utkatasana, Chair pose,Ardha Chandrasana, Half moon pose, Viparita Virabhadrasana, Warrior Pose. For use in logos, magazines, posters, advertisement plus as webfont . This YOGA Dingbat Font is best in display size. Thank You for Use this Font.

Halo! thank for your visit :) Bloody Night is a dark metal handwritten font with a horror feel and creepy impression. it looks stunning on movie title, book covers, photography, greeting cards, creepy quotes, and much more. This font is PUA encoded which means you can access all of the glyphs and swashes with ease!