Hey Guys! I’m happy to present my new typeface hand-drawn by chalk on a blackboard. This font is perfect for a school signboard, advertising of a coffee shop, retro logos, handwritten posters, bar identity, etc. What's included? * Uppercase and lowercase * Multilingual support * Numbers * Symbols * Punctuation I hope you enjoy this font. Follow my shop to receive updates of products and the very hottest news! If you have any question or issue, please contact me: kaer.pro@gmail.com Thank you!

This is a modern icon set with geometric shapes. A tasty set for the creation of the visual identity of shops, restaurants or bars. Thanks to its simplicity it will be perfect for printed and online materials. Baobaby Studio prepared an entire delicious set specially for you. Apart from “Dairy”, our offer also includes Bread and Confectionery, Vegetables, Meat and Seafood and Fruits. Everything in one style. Mix and match as you see fit. Bon appetit!

Baseball is a bold and sturdy script with its roots deep in the 1940s and 1950s Americana. Baseball is great for for sports team or bar logos, beer labels or anything where you need a bulky script with a lot of character. Baseball is equipped with several OpenType features: Standard Ligatures and Contextual Alternates for smooth connections. Try Swash, Stylistic or Titling Alternates when working with customized headlines. and combine with the Baseball Swoosh to complete your designs.

This is a modern icon set with geometric shapes. A tasty set for the creation of the visual identity of shops, restaurants or bars. Thanks to its simplicity it will be perfect for printed and online materials. Baobaby Studio prepared an entire delicious set specially for you. Apart from “Bread and Confectionery”, our offer also includes Dairy, Vegetables, Meat and Seafood and Fruits. Everything in one style. Mix and match as you see fit. Bon appetit!

Lunokhod type family (four weights) was designed by Oleg Karpinsky for ParaType in 2005. Lunokhod is an original wide sans serif with square shapes of oval glyphs. Several Cyrillic glyphs such as Í, Ó, ×, ã, ä, ò have alternate letterforms. For example capital H has two shapes: Latin one with diagonal central stroke and traditional Cyrillic with horisontal bar. Capital Ó and × have symmetrical and asymmetrical shapes. For use in display typography and for short text passages.

A decorative, maze-like multi-line typeface in two weights. Lower case is narrow, upper case is wide, the two can be mixed to give a variety of bold, dynamic effects.

This script has almost no historic roots. It is named after hajdamakas, Ukrainian guerilla fighters from past times. It is lively and somehow saucily forms the vibrant lines of a text.

Crispy Blue is handmade, using a blobby brush. Inspired by a clumsy sign I saw the other day: full of blobby lines and uneven strokes - but full of life and personality!

Sonus – a new monoline family with dynamic-flow drive. Influenced by early English sans serifs - Powerful and energetic but with some classical features. Its firm structure makes it great for text and demonstrates its lively linearity in displays. Sonus comes in 16 styles, in OpenType format and with extended language support.  All weights contain standard ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction and scientific numerals and arrows.

Lining up on the start line is Resistenza’s DreamTeam! This fit font’s long limbs, nimble movement and shifting weight make the multiline-display (inspired by bestseller Afrobeat ) perfect to grab attention on signage, print advertising and editorial applications like book covers. DreamTeam’s distinctive forms also make it ideal for branding applications and obviously with its directional movement and the suggested speed DreamTeam’s 4 styles would be DreamSolutions on athleisure apparel and clothing lines. Check out also “Voguing” & “Afrobeat”

For headlines, text, or anything inbetween; a beautiful readable face with just a touch of the Far East.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit or 25-percent increments increments to keep the grid. The »H« in the font name stands for horizontal (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my Family Kontext Dot

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 50-unit or 25-percent increments to keep the grid. The »V« in the font name stands for vertical (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my family Kontext Dot

Sneakers was a typeface that I originally drew all the way back in 2005, with a release in 2006. Its most recent iteration, Sneakers Pro was released in 2009. Since then, the idea of reworking the design has lingered in the back of my head, but I wanted to add additional flexibility and value to anything offered beyond the originals. Sneakers Max does just that and I am happy to see it released and available to everyone. Sneakers Max raises the bar in terms of functionality… incorporating all of the options found in Sneakers Pro (e.g. Small Caps and a biform/unicase located now in Titling Alternates), but it expands the character offering, improves on letter designs (everything was redrawn) and explores more flexible settings by providing 5 distinct counter widths to keep more uniform multi-line settings with mixed letter heights. Special thanks to Potch Auacherdkul for his additions to the original character set and for his engineering skills.

Patzcuaro is a summer resort by a lake of the same name. It is situated 370 km west of Ciudad de Mexico and a visitor from Europe, on seeing it, will be reminded of the Austrian Rust or the South Bohemian Trebon. The town's colonial architecture is protected as a historical monument, the reddish-brown tint of the footings of the buildings, their white facades and even the type of lettering with red initials is prescribed - and these regulations are also complied with as far as cars are concerned. This colour scheme is splendid in combination with the rich gamut of greys of the stone window jambs, vaults, lintels and pillars. Joking apart, even the local petrol station is 16th-century in appearance. Patzcuaro Regular is a cosy, welcoming type face which is good for use on labels.

Polias is an all-caps uniwidth typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great's inscription, only that this is its first datable appearance.” The letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias is one of the seven typeface designs in Esintype's ancient scripts of Anatolia project, Tituli Anatolian series.

Polias Varia is an all-caps uniwidth variable weight typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great’s inscription, only that this is its first datable appearance.” In Polias Varia, the letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias Varia is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias Varia is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias Varia can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias (family) is one of the seven typeface designs in Esintype’s ancient scripts of Anatolia project, Tituli Anatolian series.

Scorno is a geometric sans serif that offers a high legibility also in the lighter weights. Scorno is ideal for sports and technology. The shape of its letters makes it different from most geometric fonts, making it suitable for branding, magazines, catalogues and much more. Scorno is available in nine weights, from thin to heavy plus matching italics and it comes with open type features like old style and lining figures, ligatures, numerator, denominator, scientific figures, and fractions. What’s more, it also features the bitcoin symbol in the currencies set.

Linotype Fresh Ewka is part of the Take Type Library, chosen from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This fun font was designed by Polish artist Dariusz Nowak-Nova and each letter seems to be a work in itself. The fine hair lines are decorated with tiny squares and look like wires with nodes while the thicker strokes have indefinite contours and seem to have been made with a thick brush. Linotype Fresh Ewka is suitable for headlines in large point sizes.

Erich Fehrle designed this robust alphabet for headlines and titles in 1976. The constructed figures of Linotype Fehrle Display were built on the geometric form of the rectangle. Lines of text look closed and compact. The letter forms are the result of fine open spaces. Design-specific characteristics of Linotype Fehrle Display are its serif-like additions to the strokes of the figures a, c, G or M, and the alternating rounded and angular outlines of the figures a, e, s and others. Typefaces similar to Linotype Fehrle Display: Bigband, Frutiger 95.

My Love Olivia is a modern, handwritten, modern calligraphy font. The shape is modern and unique and the writing style is very natural. My Love Olivia features a varied baseline, smooth lines, gorgeous glyphs, and stunning alternatives. Hand-drawn design elements allow you to create many beautiful typographic designs in an instant like branding, web design and editorial, prints, crafts, quotes,It's great for logotypes, wedding invitations, romantic cards, labels, packaging, spelling of names and others. Add to your most creative ideas and watch how they bring them to life!

Sweet crispy and crunchy lines, clear and obvious handmade letters! What's not to like?! If you need an organic and dynamic input to your product, Crispy Magenta could be the game changer

Taglio’s name is derived from intaglio, which means “incised carving” or “an impression from an engraving”. Indeed, Taglio looks like an incised engraving with a contemporary calligraphic interpretation. The down strokes start with a single horizontal line that curves into a dual vertical line and ends with the same single line at the base. The dual elongated strokes create a bold overall impression but is literally twice as sophisticated than if the two lines were solid. That was exactly the goal in creating this font. We managed to create a font that is distinctive, elegant, and crisp that is also intentionally stencilled for more flexibility. For instance, it is ideal for laser cutting signage. One of the unique features in using the capital glyphs is that they stack perfectly without losing legibility, primarily because of the slanted ends of the dual vertical lines - see the example “Miami Fashion Week” display ad. Taglio’s unusual style was carefully crafted to come to life at display sizes. It is therefore ideal for use in branding fashion, restaurants, buildings, packaging, museums, signage, etc. An ideal pairing font is our WERK family which can be seen on some of the display ads below. Taglio has a sparkling and sophisticated personality that will absolutely delight!

DoodleBat Teddies is cute and cuddly. These teddie bears will add the fun touch that any creative project needs.

Smart Sans is a personal tribute to Leslie (Sam) Smart, the first type director to be hired by a major typesetting house in Canada. Smart was a twentieth century design pioneer who raised the standards of Canadian typography. Together with three of his peers, he established the first Type Directors Club in Toronto. After Smart's death in 1998, type designer Rod McDonald decided that something should be done to commemorate Smart's life and achievements. I had first thought of establishing a scholarship in Sam's name, but a typeface design soon replaced this idea," says McDonald. "Once I decided to design a typeface, however, it became a foregone conclusion that it would be a sans serif - for no other reason than that I loved the name Smart Sans." Two typefaces served as inspiration for McDonald's work. "Like thousands of designers, I'm keen on Matthew Carter's Helvetica Compressed series. And, when I was younger, I also loved Fred Lambert's Compacta," says McDonald. "I thought there might be a place for a small range that could take over from these 'old workhorses' and, in the process, bring a fresher look to the genre." McDonald drew three weights for the Smart Sans family, all ideally suited for setting attention-getting headlines and powerful display copy. The two-storied 'g' contributes to the design's lively personality, and the short 'r' helps maintain tight, even spacing. Smart Sans is the perfect homage to a great typographer, because it raises the bar on what to expect from condensed sans serif typefaces. Sam Smart would be pleased."

Night Light is a specially created collection of seven neon inspired fonts giving designers the power to replicate traditionally hand-made lettering from the comfort of their own computer. Choose from the selection of script, sans serif and outline fonts to set your text. Then apply our custom graphic styles for a life giving jolt of electricity! The appeal of neon lettering lives in its power to display a message in a functional, eye-catching and timelessly cool way. How many times have you stopped in the street to admire a bar sign or shop front blazing with neon colors? It's aesthetic works equally well for a Hot Dog stand or high-end fashion brand, providing a tried and tested technique for grabbing customer attention. I've designed these fonts to make the power of neon accessible to all, investing time to research real neon signs and how they are made, paying attention to their human imperfections and inherent limitations (all of which makes them). This research has been distilled into these essential styles; Script, Outline, Inline, Square and Compressed. These seven core fonts give designers a new opportunity to take advantage of realistic neon lettering in their print and online projects, perfect for music promotion, film titles, YouTube tutorials and gig posters. Ready to be moulded to any requirement, the power of neon is in your hands. Neon Graphic Style Presets Available Here The link above provides access to the graphic styles seen in the visuals with support for Adobe Photoshop, Adobe Illustrator, Adobe After Effects. Simply download and follow the instructions provided.

I don't know what is it with me and bad copy machines these days...my previous font also had that look, like it was made using a poor copy machine! :) Basic Choice comes in a regular, solid and distressed version - use these versions as they are, or play around and use them as layers. Each letter has 6 different versions, and they automatically cycle as you type. It makes the text look scrambled and random at the same time!

Meetha Script is modern calligraphy script font. This is a beautiful script font with italic style. Made gently and danced to give the character of modern writing that is sweet, simple, stylish and firm. With a style like this, this font will be suitable in use for logo's, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, logo's, t-shirts, book covers, name card, invitation cards, greeting cards, and all your other lovely projects.

Introducing Correa Script! This is a modern font script. This font is slanted, luxurious, and elegant. Contains 456 glyphs! Use it freely as you see fit. Please try it out and I hope you enjoy it! With a style like this, this font will be suitable in use for lettering logos, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, t-shirts, book covers, name card, invitation cards, greeting cards, and all your other lovely projects.

Heycold is a new beautiful and modern display font! This fun font has cute, round, unique and fancy font characters. Made specifically with attention to appearance, aiming to give happiness to everyone who uses it! With a style like this, Heycold will be suitable in use for comics, logos, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, logo's, t-shirts, book covers, name cards, invitation cards, greeting cards, and all your other lovely projects.

Thamarind is a new fun and unique new handwritten script font. This font adopts a bold, cute, firm, and trendy style. Very suitable to meet your various design needs that are trending now. With a style like this, this font will be suitable in use for comics, logo's, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, logo's, t-shirts, book covers, name card, invitation cards, greeting cards, and all your other lovely projects.

Glowing Brush is a natural and beautiful brush-lettered font, a calligraphy style with decorative end characters and a dancing baseline! This font is perfect for use in ink or watercolor based designs that produce natural handwriting. With a style like this, this font will be suitable in use for logos, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, t-shirts, book covers, name cards, invitations, greeting cards, and all your other lovely projects.

The Beaverist belongs to the group of handwritten fonts and is inspired by the culture of small and cute villages located far from big cities, almost as a part of nature. Beaverist does not have the pompousness of calligraphic fonts, but it has the warmth and softness of natural forms that we rarely meet in our hectic life. So if you want a simple and easy-to-read handwritten font, don't hesitate, the Beaverist font is your choice.

This typeface was created as a personal project. Inspired by places like Chattanooga and Berkley, I wanted to create a bespoke typeface family for the US Virgin Islands. I noticed that the typeface Berlin Sans was in use all over the islands, in signs, logos, even on the side of police cars. So I built this typeface from the ground up with the goal of updating an old tried-and-true font into a family with versatile potential.