We have been in lockdown for a long time now. The schools were also closed, meaning my kids had to stay at home. This week the schools reopened (not a day too soon!), which means my kids can play with their friends again and learn something too! My wife and I pack their lunchboxes every day and always add some fruit for snack time. That fruity snack inspired me to create this rather messy font! Fruity Snack is a handmade display font. It looks wobbly, comes with awkward angles and rough bits. It also comes with extensive language support (including Vietnamese) and 2 sets of alternates for the lower case letters.

Victorian Silhouette is a decorative all-capitals face made up of small silhouettes of people engaged in different activities. Before photographs were readily available, portraits were commissioned in the form of silhouettes, and these were extremely popular during the Victorian era. The Victorian Silhouette font is ideal for initial caps.

A modern Sans Serif — prosaic, designed geometrically, beautiful in large sizes All the dimensions of the font are based on Factor 10. The general principle of construction leads to slim forms and nearly equally wide characters. So the font appears very solid but is actually difficult to decipher in longer texts. Along with the ”normal“ Guhly Regular there are also the two versions Guhly Light and Guhly Bold, whereas in each only the vertical strokes [Guhly Light] or horizontal [Guhly Bold] have been changed in strength. The result is a very individual decorative effect which slightly reflects old circus and western scripts. The lower case characters in the version Guhly Book are, therefore, optimized to be suitable for longer texts in smaller font sizes — because after all, sometimes you should read a bit more than just the headline… The design of a shampoo bottle stands behind the creation of this sans serif display font. Prominent, clearly constructed forms with circular arcs define its appearance. This is a font primarily designed for use with capital letters — for all sorts of advertising purposes, headlines and titles. But lower case letters also belong to a good functional font; so, of course, Guhly includes them and ligatures for the more ”critical“ letter combinations as well as stylistic alternates for the letters K (or k), V (v) and o. As a decorative “encore”, the Guhly family also contains the “normal” weight in two variants: on the one hand the Guhly Cutout – these are letters without counter, as if the letters were cut out and the internal surfaces fell out; and on the other hand the Guhly stencil – as the name suggests, a stencil font with the typical bars that give a stencil the necessary cohesion.

Brewery Factory This is a vintage font collection inspired by old brewery, pubs, bars and the style of their design. This collection includes 16 font styles - Serif and Script has a regular, rough, vintage, halftone style, as well as a regular and rough style for Serif and Script there are shadows in two versions - short and long. The script font includes alternatives for Uppercase and Lowercase, as well as swashes. This font is easy to use has OpenType features.

Povetarac Didone font family is part of Povetarac Superfamily together with Povetarac Sans and Povetarac Display. Available in 6 weights with matching italics, Povetarac Didone relays on lively uppercase proportions that took inspiration from vintage typefaces. It is well balanced family, elegant and fully recognizable. One of its characteristics are straight and wide terminals without usual serifs for this kind of typefaces. Playful and harmonic italics are one more uniqueness of Povetarac Didone. They were gently crafted to fulfil they role not just for editorial use, but as display typeface as well. Comes with Fractions and extended Latin character map.

Dezen is a contemporary, mechanical grotesque typeface. Its letters were first constructed from individual modules and then optically refined to enhance its rhythm. Its tight letter spacing and narrow proportions make the typeface particularly well suited for display sizes and headlines. 
When you add spacing, font can be used for shorter amount of text, 
bigger than 12 points. The Dezen type family consists of a wide variety of styles – solid and stencil. The Dezen Pro subfamily combines all 4 styles (Solid, Stencil 01, 
Stencil 02, Stencil 03) in a specific sequence, which originates a “pattern” for the alphabet (or dezen, in Slovak).

Dezen is a contemporary, mechanical grotesque typeface. Its letters were first constructed from individual modules and then optically refined to enhance its rhythm. Its tight letter spacing and narrow proportions make the typeface particularly well suited for display sizes and headlines. When you add spacing, font can be used for shorter amount of text, bigger than 12 points. Dezen type family consists of a wide variety of styles – solid and stencils. Dezen Pro subfamily combines all 4 styles (Solid, Stencil 01, Stencil 02, Stencil 03) in a specific sequence, which originates a “pattern” for the alphabet (or dezen, in Slovak).

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Condensed, Narrow (soon), Normal and new Wide and Expanded. The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

Dezen is a contemporary, mechanical grotesque typeface. Its letters were first constructed from individual modules and then optically refined to enhance its rhythm. Its tight letter spacing and narrow proportions make the typeface particularly well suited for display sizes and headlines. When you add spacing, font can be used for shorter amount of text, bigger than 12 points. Dezen type family consists of a wide variety of styles – solid and stencils. Dezen Pro subfamily combines all 4 styles (Solid, Stencil 01, Stencil 02, Stencil 03) in a specific sequence, which originates a “pattern” for the alphabet (or dezen, in Slovak).

Dezen is a contemporary, mechanical grotesque typeface. Its letters were first constructed from individual modules and then optically refined to enhance its rhythm. Its tight letter spacing and narrow proportions make the typeface particularly well suited for display sizes and headlines. When you add spacing, font can be used for shorter amount of text, bigger than 12 points. Dezen type family consists of a wide variety of styles – solid and stencils. Dezen Pro subfamily combines all 4 styles (Solid, Stencil 01, Stencil 02, Stencil 03) in a specific sequence, which originates a “pattern” for the alphabet (or dezen, in Slovak).

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Expanded, Wide, Normal, Narrow and Condensed The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

Dezen is a contemporary, mechanical grotesque typeface. Its letters were first constructed from individual modules and then optically refined to enhance its rhythm. Its tight letter spacing and narrow proportions make the typeface particularly well suited for display sizes and headlines. When you add spacing, font can be used for shorter amount of text, bigger than 12 points. Dezen type family consists of a wide variety of styles – solid and stencils. Dezen Pro subfamily combines all 4 styles (Solid, Stencil 01, Stencil 02, Stencil 03) in a specific sequence, which originates a “pattern” for the alphabet (or dezen, in Slovak).

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Condensed, Narrow, Normal, Wide and Expanded. The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

Ammurapi was the last king of Ugarit, which was destroyed circa 1200 B.C. Back then all writing was done by hand and all that has been preserved is on clay tablets many of which were fired in the very destruction of the cities that enabled these documents to withstand the rvages of time. Ugarit unlike the other cuneiform scripts has a very limited number of glyphs. It is somehow exotically attractive. This font has been encoded in the appropriate unicode block to permit ease of use for scholarly purposes, but would also make a fine use as a decorative element.

Vinho De Amora is a truly vintage serif font. Drawn by Mans Greback between 2019 and 2021, this font is created with inspiration from wine cellars, painted typography and genuine quality produce. It has a distinct sharp character, steady legs and a bold and wide appearance. The Vinho De Amora family consists of three styles: Black, White and Stencil; each one geometrically consistent and complimenting, perfect for stacking on top of each other to create more variations. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality. It has extensive lingual support, covering all European Latin-based languages. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Acton is a deceptively simple, grid-based design. Though derived from a 2 by 3 arrangement of blocks, it uses white spaces to allow for more complex shapes – for example as the R – where the underlying 3 by 5 arrangement is apparent. It also departs from this strict grid-based logic for characters such as the the T, L, f and r, whose cross-bars are shorter than they would otherwise be in order to promote optical evenness. No elegant solution could be found for the V, which in geometric fonts can appear very similar to the U, lacking as it does the cross-bar that can differentiate a square A from the capital form of the n. However, the resultant diagonal retroactively proved useful on the lower-case e and a, characters that otherwise would have more uninteresting design solutions.

Dionisio, a CastleType original, takes its inspiration from one of the overlooked treasures of the CastleType library: Ransahoff. The latter is extremely condensed and very elegant. I particularly like its hairline slab serifs and cross-bars. I decided to use it as a starting point for a new design, but to make the proportions more classic and to make it more sensuous with gentler curves and bracketed cross-bar serifs. The result is very Bodoni-like, but less extreme and more contemporary looking. Meanwhile, Dionisio maintains a hint of Ransahoff with condensed letterforms and very fine serifs. Dionisio brings together the best of both, making it the perfect choice where a slender, sophisticated typeface is needed. Dionisio is available in two widths: normal and condensed, five fonts each. Includes an extensive character set and OpenType features.

Storehouse Font is an old fashioned typeface with a modern touch. Inspired by tradition, hardworking brewers and 1800s it come up with 10 strong, confident and powerful styles, included: Regular, Italic, Thin, Black, Outline, Shadow, Used, Wide, Soft and Stencil. The font looks great when put on signs, shirts or labels of the bottles. Also, it works perfect as font for a branding and commercial uses. What is included: Shapes: 1.Storehouse Shapes EPS – EPS file 2.Storehouse Shapes PDF – PDF file Fonts: Storehouse Regular - OpenType font file - Regular old fashioned typeface with a modern touch. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Thin - OpenType font file - Thin version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Wide - OpenType font file – Wide version, big spaces. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Black - OpenType font file - Extra, extra bold version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Outline - OpenType font file – Outline version of regular version, amazing in matching with regular version as a back shadow. full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Shadow - OpenType font file – Old fashioned shadow of regular version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Italic - OpenType font file – Regular version with smooth edges. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Soft - OpenType font file - full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Stencil - OpenType font file – Stencil font with amazing old fashioned modern touch. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Used- OpenType font file – Softer edges, smooth lines. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Multilanguage Support: English, Albanian, Danish, Dutch, Estonian, Croatian, Bosnian, Slovenian, Finnish, French, German, Icelandic, Italian, Norwegian, Portugese, Spanish, Swedish with a lot of other languages; see Full Character List. Note: To access the extra alternate letters, you will need to use the glyphs panel. Many design programs offer this ability, including Adobe Photoshop CC 2015 , Adobe Illustrator, Adobe Indesign. Works with Cricut, Silhouette, PicMonkey, Photoshop, Illustrator and many more applications!

Liong is a bold & retro slab serif typeface inspired by western typography signane, they have a contrast weight bar and slab with fun and fancy character. Liong comes with 4 style regular, italic, slab & slabitalic, perfect for logos, badges, typography and any retro design needs.

Bilestone inspired from vintage baseball, sign painting, and labeling, is suitable for logos, product names packages, labels, old fashioned coffee shops, bars and everything with specific characteristics of past times. Bilestone is a great combination to create something good and with a vintage feel.

News Ticker JNL was inspired by some 1930s film footage of the famous electronic message sign that surrounded the New York Times building in Times Square. A blank panel is located on both the regular and broken vertical bars for use in spacing between words.

Can you dig it, man? Comicraft's Jazzy "JG" Roshell, just swung by after playing bongos down at the coffee bar in his black turtleneck sweater, stove-pipe trousers, dark glasses and beret. Check out the rad Tiki corners on our freshest font, COOL BEANS and you'll want to snap your fingers, put on some Miles Davis and take the next train out of Squaresville, um, Daddio.

Combust is a modern playful display font with fire. The font is thick so it can still be read even if there is a burning fire, suitable for various purposes, poster design, for video game or movie titles, or promotions on social media.

Created by Swedish designer Bo Berndal in 1999, Linotype Dala Text can best be described as a softer, friendlier blackletter. Blackletter refers to typefaces that evolve out of Northern Europe's medieval manuscript tradition. Often called gothic, or Old English, these letters are identified by the traces of the wide-nibbed pen stroke within their forms. Linotype Dala Text most resembles the fraktur type of blackletter. Fraktur types were popular text faces in Northern Europe until the 20th century. Inspired by Swedish folklore, this fraktur is much softer and rounder than most examples. Its connection to the Scandinavian folkloric tradition makes Linotype Dala perfectly suited for such texts as fairy tales, medieval stories, and other things that might appeal to a child's sense of adventure. To strengthen the medieval fairy tale look, use Linotype Dala Text together with other elements of the Linotype Dala family: Library's Linotype Dala Pict and Linotype Dala Border. The characters in these two supplementary fonts were inspired by medieval and renaissance folk art, and were also drawn by Bo Berndal, making them a perfect match. All three styles of the Linotype Dala Family are part of the Take Type 4 collection from Linotype GmbH."

An unnamed scroll typeface featured in the 1869 MacKellar Smiths and Jordan specimen book provided the pattern for this font. You may begin and end the scrolls with parentheses, braces or brackets, and employ the space bar as you normally would to construct headlines "in a pretty box". Both versions of this font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

An unnamed scroll typeface featured in the 1869 MacKellar Smiths and Jordan specimen book provided the pattern for this font. You may begin and end the scrolls with parentheses, braces or brackets, and employ the space bar as you normally would to construct headlines "in full-flowing draperies". Both versions of this font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Technically a crowbar is a straight metal rod used for digging. The tool I had in mind when I named this font is called a jemmy or pry bar, but I guess I liked the name crowbar better. Crowbar font, like its namesake, is a very useful tool: its brush-like appearance fits any design, especially if you are aiming for the ‘scary’ look. Comes with a toolbox full of diacritics too!

Gliners is a simple stylized font that overlies the center of the glyphs bar in the font. Glyphs font doesn’t have too many, it only offers Uppercase and Multilingual, but don’t worry because its simple shape will make your project look interesting. The Gliners font is very suitable for use as movie titles, movie title poster covers like the review image I shared above. how? are you interested in trying it? Thank You, stay the center of attention and classy!

An interpretation of the lettering of contemporary illustrator Amanda Duffy. Each font contains four glyphs for each character (including all numbers, punctuation, and symbols), which OpenType coding sets in “random” order for a subtle, natural effect. Use a curved path to further accentuate the bounced quality of the letters. Try out different combinations of glyphs by inserting the cursor in front of your headline and hitting the space bar repeatedly: each time,the text will be represented by a different sequence of glyphs.

The original Swift (1985) proved its worth in corporate identities, magazines and newspapers and occasionally in books. It is a versatile type and can be used in a wide range of circumstances. It is a striking type, with large serifs, large counters and letters that produce a particularly strong horizontal impression. This means that words and lines in Neue Swift are easily distinguished, even where there are large spaces between words, as can occur in newsprint. Neue Swift's large, robust counters were designed to improve legibility particularly in newspapers. It was designed in the early eighties, when papers were less well printed than they are today, and its special features help it survive on grey, rough paper printed on fast rotary presses. Today it is used more often outside newspapers than in them. Neue Swift (2009) is the newest version of the Swift concept. It has been improved by technical and aesthetic enhancements, and has been expanded into a family of twelve variants. Featured in: Best Fonts for Logos, Best Fonts for Websites, Best Fonts for PowerPoints

Gernsheim is a semi condensed display sans serif font family. This font family has been created for use in headlines and logo display fitted on showcase screen. 9 weights and 18 font styles make up the initial release. To increase the adoption of a wide range of display fonts, the individual glyphs' handle fluctuations were subtly applied. The compromise of disproportion between straight lines and curves improves glyphs autonomy and relieves tension. And by applying rounded corner effects to each style, it presents the reader with softness and comfort. It is designed so that the rebellious disproportion created by heavy styles transition to flat and classy tenderness as the thin style approaches. Try the uniqueness and excitement of individual styles for yourself

Bugleboy started as a digitized version of "Wood Grotesk," a 1970s film typeface by LetterGraphics. It started with a bare bones character set which we added swash alternates for Capitals, Stylistic Alternates for a Unicase look, and crafted a Sans version without serifs. The Sans style lacks swashes but keeps Stylistic Alternate Unicase forms. See the last graphic for a comprehensive character map preview.

Using examples of antique street signs from New York City, Stickball JNL recreates the iconic lettering in a digital typeface and is available in both regular and oblique versions. For a nostalgic touch, a blank street sign is located on either the solid or broken bar keystrokes.

A light sans serif designed for Susanna Lakner’s 22 Days mail art project. The characters were drawn on each of 22 evenings throughout November 2004. In December the drawings were scanned to create the Susanna font.

Yorklyn Stencil includes three fonts, each optimized for use at different size ranges. Grande has greater contrast and more delicate breaks designed to be used at larger sizes where finer details are more conspicuous. Medium and Petite are intended for smaller sizes where the breaks and contours must be more resilient. We embedded several OpenType layout features, including traditional fractions and nut fractions. We extensively tested Yorklyn Stencil in what might be the broadest range of media and conditions in the annals of Northwestern Delaware typefounding history. From the ceramic kilns of Heath Ceramics to our studio’s stucco facade, Yorklyn Stencil’s robust curves and deceptively delicate breaks will withstand a wide variety of harsh conditions with unprecedented aplomb. Whether you’re hand cutting a stencil to buzz your bespoke restaurant bar stools or simply looking for a practical yet illustrative display font, Yorklyn Stencil’s elegant efficacy will enhance any creative composition. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

ITC Simran was created by the London designer Satwinder Sehmi in 1998. The Indian influence is recognizable at first glance and lends the font an exotic feel - at least to the western eye. Sehmi borrowed forms and feelings from northern Indian writing systems for this typeface. Both the upper and lowercase letters make use of the same lowercase forms, but the upperacse letters have the addition of a horizontal bar running over them at the ascender height. This feature is directly reminiscent of writing systems in northern India, and is ITC Simran's most distinguishing characteristic. But there were other influences as well: Sehmi was also inspired by uncial forms when designing this typeface. ITC Simran exhibits the typical look of writing with a broad-tipped pen, with its strong strokes, as well as characteristic letter forms, for example, the a or h. ITC Simran is a fascinating and harmonious symbiosis of a variety of influences from different cultures. This font is best used for headlines and short texts in point sizes of 12 and larger.

A Blocky Geometric Techical typestyle Modulate began as a digitization of a film typeface from LetterGraphics in the early 70's known as "Cadence". The original specimen included standard Capitals and Lowercase, Numerals and minimal Punctuation, a bare bones character set, previous only available on film and only in an upright stance. We've fleshed out the Modulate typeface to include a full standard character set, an extended international set, and a handful of alternate character styles. We've also added an oblique style that suits its techno design. Both vintage and modern feeling, with a dynamic techno presence, Modulate draws attention without being outlandish. See the 5th graphic for a comprehensive character map preview. Bare Bones Opentype features include: - Standard fi and fl ligatures - Stylistic Alternates Letterforms for: EFLTZ and ftz characters - Approx. 411 Character Glyph Set: Modulate comes with a glyphset that includes standard & punctuation, international language support, and minimal additional features.

Qubicles Sans is a modern sans serif font designed with calligraphy style for a wide range of need. The font is suitable for any branding project like logo, t-shirt printing, sporting design, and many more. It will look assertive in a wide range of contexts.

O Type Foundry published the unique 'Geometric Mechanic Sans Serif' in 2023, a typeface that Galang Persada had been perfecting since 2013. Attention all graphic designers! Are you tired of using the same old fonts and design elements in your projects? Look no further than Gal Sans, the newest geometric mechanic sans serif font on the market. With its clean lines and modern aesthetic, Gal Sans is the perfect addition to any designer’s toolkit. Its versatility makes it suitable for a wide range of design projects, from logos to website text. Plus, its minimalist design adds an elegant touch to any composition. Don’t settle for ordinary – elevate your designs with Gal Sans. Try it out today!