This font looks like the best effort of small children (when they are trying to be very neat). It is cute.

Aeogo is unique font, the form was made are different like as usual. we made it include a pixel style font

Canapa it a simple humanistic sans serif font family. Canapa's 10 styles are good for friendly oriented package design layouts. Try!

Introducing all caps handwritten typeface named Plonker after Derek Trotter's famous "You plonker!" statement to Rodney at "Only Fools and Horses".

A practical font family with 2 weights for all your needs: headlines, body text, signage etc. High legibility at small sizes.

A practical font family with 4 weights for all your needs: headlines, body text, signage etc. High legibility at small sizes.

This font is closely based on classical proportions, with flared terminals. Small Capitals are 7/8 the size of the capitals

A display style, with protuding bulb round ends at the serifs and mid-points, very bold, lower case originally not designed.

A practical font family with 4 weights for all your needs: headlines, body text, signage etc. High legibility at small sizes.

DECORATE THE SEASON with 62 retro-style Christmas decorations. These decorative accents are a great addition to your holiday font collection.

A bold and arresting geometric font built from parallel stripes. Most effective in short headings or logos at larger, display sizes.

C-V dashes are transcribed from 72-pt ornaments designed by Enric Crous-Vidal and issued by Typefoundry Amsterdam c. 1950.

This font is characterised by a sleek shape.There are two versions, regular and black. Included: -Uppercase and Lowercase -Number and Punctuation

High legibility at small sizes. An extended sans serif typeface with rounded endings that provides unique softness appearance without losing legibility.

Newsworthy JNL and its oblique counterpart are variations on the ever-popular condensed type styles used for newspaper and tabloid publications.

Designed at ParaType in 1995 by Tagir Safayev. Based on informal handwriting (caps-only). For use in advertising and display typography.

Crazy sans for happy, fun time. There are two other fonts designed by in the same concept. -Deluta Black -Xesy -Ekistra

Fertigo Pro Script. Fine connected type with a lyrical calligraphic touch. Don't forget to have a look at the regular version.

Stranger Blue is a soft-edged and playful comic font with bouncy ligatures. Multilingual support and legible at even small sizes

Tony’s Trees was inspired by the handmade signs down at the local Christmas tree lot. A fun-forest of typographic possibilities!

Hi! Introducing a simple minimalistic font named "One Thin Line". Because almost all letters and characters are made of one line.

Designed at ParaType in 1995 by Tagir Safayev. Based on informal handwriting (caps-only). For use in advertising and display typography.

Auchentaller was inspired by a travel poster by Josef Maria Auchentaller in 1906. To our knowledge, it was never cast in type. Grado lies on the northern Adriatic, between Venice and Trieste. At one time the port for the important Roman town of Aquileia. With the decline of the Roman Empire, the upper Adriatic region came under the rule of the Visigoths, the Ostrogoths, the Byzantines, the Lombards, the Franks, the Germans, the Venetians and finally, in 1796, the Austrian Hapsburgs. So it remained until the dissolution of the Austro-Hungarian Monarchy in 1919, following World War I, when the seaport of Trieste was awarded to Italy. With Trieste came Montefalcone, Aquileia and Grado. The area was marked by years of political tension between Italy and Yugoslavia, exemplified by the d'Annunzio expedition to capture Fiume (Rijeka) in September, 1919. Some basic discussion of the period from 1919 to 1939 may be found in Seton-Watson’s Eastern Europe Between The Wars (Cambridge 1945) and Rothschild’s East Central Europe Between The Two World Wars (Seattle 1974). In 1965 I was traveling by train from Venice to Vienna. Crossing the Alps, the train stopped for customs inspection at the rural Italian-Austrian border, just above Slovenia. We were warned not to get off the train because there were still shooting skirmishes in the area. Through all this, Grado remained literally an island of tranquility, connected to the mainland by a only causeway and lines on a map. Auchentaller not only painted the beach scene at Grado, he moved there, living out the rest of his life in this comfortable little island town. His travel illustration contains the text from which the design of our font Auchentaller is drawn. The text translates: "Seaside resort : Grado / Austrian coastal land". Please see our gallery images to see a map locating Grado, as well as Auchentaller’s painting of the resort. Auchentaller is a monoline all-cap font, light and open in design , with a lot of typically art nouveau letter forms. Included in our font are a number of ligatures. As is frequently seen in designs by German speakers, the umlaut is embedded in the O & U below the tops of the letters. This approach led to two whimsies: a happy umlauted O and a sad umlauted U. This font has a clean, crisp look that is very appealing and very distinctive. Auchentaller ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 336 glyphs. 2. Added OpenType GSUB layout features: pnum, liga, salt & ornm. 3. Added 116 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised ‘J’. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. 8. Inclusion of both standard acute and Polish kreska with choice of alternate accented glyphs for c,n,r,s & z. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Ricordi Allegria useful links: Specimen | Graphic presentation | Customization options TT Ricordi Allegria is a sleek and intelligent contemporary Florentine grotesque inspired by the half-erased lettering in Basilica di Santa Croce, Florence. TT Ricordi Allegria was drawn by Antonina Zhulkova and reflects in its graphics the transitional stage between the classic serif with varying proportions, gravitating towards the Roman capital type, and the Florentine sans serif. The font is characterized by variability in the proportions of characters, contrast between strokes, wedge-shaped triangular characters, and the absence of traditional serifs. The main visual feature of the typeface is its diversity and the ability, using different stylistic sets, to completely change the character and perception of the typeface. The drawing of the characters from the main set is strict, thanks to which the font looks stern, as if the inscription in the font was really carved out of stone. And with the help of another set, we can add roundness, or even smoothness, to the font. This is due to the fact that the letters (E R K Q J Y in Latin, and Л К Ж Э in Cyrillic) from the second set have either very noticeable "curls" or smooth, rounded "legs". In addition, the typeface includes a set of beautiful ligatures for use in display inscriptions, such as large headlines. An interesting moment when working on the typeface was the creation of the Cyrillic typeset, since the Cyrillic alphabet does not so easily fit into the concept of the Florentine grotesque and stressed semi-serif. The most difficult thing in working on the Cyrillic alphabet was to create a system of spacing for characters, as it was done in the Latin alphabet, and to make sure that when typing in Cyrillic, the drawing of the text remained beautiful. That is why the letters Д Л У Ы appearing in the font family are somewhat unusual to the eye, and the proportions of other characters in Cyrillic are not quite “classic” either. In general, the Cyrillic set looks more display than its Latin prototype, but at the same time it lacks the sense of historicity or legacy of the Soviet past, which often comes to the foreground when working on the design of the Cyrillic alphabet in this type of serifs. TT Ricordi Allegria consists of two weights (Regular and Bold) and one variable font. Each style includes over 750 characters, as well as 19 OpenType features. Interesting features of the typeface include three stylistic sets that greatly change the perception of the font, a set of bright display ligatures, a few neat icons that are suitable for breaking text and will emphasize the visual language of the font. Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org FOLLOW US: Instagram | Facebook | Website

Please note: Sindelar webfonts are exclusively available at willerstorfer.com Sindelar is a capable, contemporary text face addressing today’s news design requirements. Its large x-height, low contrast and robust serifs grant a high legibility in small sizes. The balanced, well chosen proportions make the typeface economic (i.e. space saving) without giving it a too narrow appearance. These characteristics make it the ideal choice for extensive text setting in newspapers and magazines – on paper and on screen. Named after famous Austrian football (soccer) player Matthias Sindelar (1903–1939), one of the best players of his time, the typeface shares two major qualities with its namesake: their technical brilliance and their way of performing aesthetically to the last detail. The football player’s nickname »Der Papierene« (the Paper-man) elegantly refers to the media too. Although optimised for small sizes, Sindelar’s low contrast and robust serifs give the typeface a strong impact and an unmistakable personality in larger sizes. Sindelar’s calligraphic influences can be noticed in the Italics best. The italic letters are inclined by slightly different angles, respecting the letters’ shapes and proportions and resulting in a balanced, yet vivid appearance. Sindelar comes in 18 styles – nine weights in Roman and Italic each. Each font is equipped with a huge character set of about 980 glyphs and various OpenType features.

Inspired by the Indonesian island’s laid back feel and easy going culture, Bali Script is a tribute to the hand-lettered signage on beach bars, surf shacks and cafes. The swell of the stroke endings and the bolder-than-your-average gooey look convey a cool, contemporary take on baseball scripts. Overlay Bali Script Highlight for a cartoonish, glossy finish. Perfect for logos. This font is jam-packed with OpenType features that make smooth flowing text a doddle. Contextual alternates and ligatures are best left on by default. The alternates especially work a subtle magic that helps letters connect with an even rhythm, and automatically substitutes letters with the best fit alternatives based on their context, such as at the end of words, or adjacent to certain other letters. There are four stylistic sets (or all grouped together in the stylistic alternates feature for those without easy access to them) which do the following: SS01 - changes the r to a script form SS02 - makes certain caps more ‘scripty’ SS03 - capital I (and accented versions of it) get serifs SS04 - underline function. typing two or more underscores extends on underline beneath the previous word. Also included for your pleasure - oldstyle figures, automatic fractions, superior and inferior numbers, ordinals, some discretionary ligatures, swash alternates and extended language support.

Gordita is a minimal sans serif typeface with a geometric foundation that has been built upon with modern details that result in an optically balanced, friendly typeface. When designing Gordita referring to features in Futura were influential as were the structural and harmonious strokes of Gotham. Forms have been optically compensated to appear natural and purely geometric. Joints are slightly tapered and ink traps feature in heavier weights with the purpose of achieving maximum legibility. Gordita has been tested in print and on screen in a wide range of point/pixel sizes. The family is equipped with OpenType features including alternate glyphs, fractions, case sensitive forms, small figures, arrows and symbols as well as old style and tabular figures. Now delivered in 7 weights with matching italics that slant at 15°. The italics are slightly lighter and narrower than the upright versions. The horizontal weighting in the italics have been reduced to compensate for the loss of vertical stroke thickness. With support for over two hundred languages with an extended Latin and Cyrillic character set, Gordita is ready to be put to work. Designed by Thomas Gillett, metrics and engineering by iKern (Igino Marini). The family has been recently updated to include two additional weights (Thin & Ultra + their matching italics) as well as slightly opened apertures for better legibility in the heavier weights, new glyphs and more opentype features.

Your designs are your self expressions and should represent your personal styles. Without the right font, it will be hard to be prominent and to impress your audience. Lost Buster is here to assist you. Lost Buster is a capitalized handwritten font in brush details to produce a manual brush-looking display adding creativity values to designs with this font. It also gives more personal, natural impressions to make people feel close to the brand or design displayed. The advantages of a brush-detailed handwritten font are first, the unique display to get the brand or the design easily remembered and noticed, and second, legible, applicable for various media. You can also apply this font for various text sizes for its legibility reason and enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Lost Buster fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The Deberny typeface is an interpretation–carrying a contemporary imprint–of a typographic style which appeared and spread at the end of the 19th century until the begining of the 20th. These typefaces were named Italian, Venetian, Veronese and were classified in the Hellenic category, a spontaneous typographic movement caracterized by triangular and heavy serifs. They found their inspiration among numerous references, from incised to slab serif typefaces and their extreme expressions in wood type letterforms. The Deberny font family is made of 26 styles in 3 complementary sets of style, offering a wide palette of visual resonance: • Deberny Line is ideally suited for editorial, branding, posters and billboards. It has sharp contrast between thick and thin strokes. Heavy horizontal strokes are not frequent in roman letters, but here they fit naturally with the italic letters. • Deberny Open is a stylish outline declination of Deberny Line Medium and Medium Italic. • Deberny Text is an adaptation of Deberny Line made for broader use. Its shapes are less contrasted, which makes it perfectly legible for print or screen reading in small size text. Old style figures and small caps complete Deberny Text in all its 8 styles. The Deberny typeface family supports Latin-based languages and will be available soon in Cyrillic and Greek. Deberny Narrow will be released this year in all its 26 styles.

While sketching for a music project logo, Donald DBXL Beekman looked at several wood type alphabets as a starting poing. One of these was No.120, patented in 1880 by William Hamilton Page. With its distinct diagonally cut serifs and round shapes cut off at top and bottom, it bore just the right feel for the project. DBXL digitized the alphabet, adding all characters needed for a full set. During this process all shapes were widened, tweaked and streamlined to enhance consistency and rhythm along the whole font. VLNL Bonen is an all-caps display font with a very specific western cowboy or circus look. For instance burger or barbecue grill restaurants would do well with this one. We can easily see it shine on a festival flyer or poster as well, and not just country & western festivals. VLNL Bonen is suitable for any ‘big’ use that needs to stand out of the crowd. Bonen is the Dutch word for beans, a world wide source of nutrition and proteins it comes in a multitude of shapes, colours and sizes. Beans are also the most eaten foods in a cowboy’s diet along the trail. Available in abundance and easily preserved and transported, many recipes on the cattle drives in the American Wild West used beans. Think of chili, mashed beans with biscuits and bean soups. “Keep them doggies movin’, cowboy!”

Rufolo is a family of fonts that can be considered both aesthetic and utilitarian. It has an apparent serif, barely hinted at, whose clear past reference is a beautiful epigraphic script on the marble plate placed at the southern entrance of the Roman amphitheatre, in Pompeii. Perhaps its origin dates back to Ugarit's cuneiform writing (as Morrison suggests as the origin of the serif in "Politics and Scripts") whose characteristic triangular-shaped incision footprint produces a powerful trait that not only gives character to the writing but also facilitates its support and visual compensation of sizes with neighboring signs. Other clear inspirational references have been Robert Hunter Middleton's Stellar (1929); Albertus (1932) by William A. Dwiggins; Optima (1952) by Hermann Zapf; And more recently RRollie (2016) by our foundry. Rufolo collects the attractive characteristic of the stroke endings but the proportions of its structure becomes much more regular, the capitals are in line with a constant square module, while the above references retain the proportions of the Roman Trajan. Some endings strokes have slightly baroque reminiscence with the intention of giving it greater plasticity and aesthetic enrichment, but absolutely controlled, taking special care of the aspects of readability and expressive neutrality. Rufolo Family comes in four weight: Light, Regular, Bold and Black, accompanied by its corresponding Italic versions.

Bettrisia Script is a modern and elegant calligraphy script font that comes with very beautiful character changes, a kind of classic decorative copper script with a modern touch, designed with high detail to bring stylish elegance. Bettrisia Script Interesting scripts as smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy and simple letter connections. I also offer a number of alternative styles that are appropriate for many letters. This font style is perfect for various designs of your work, such as invitations, labels, restaurant menus, logos, fashion, makeup, stationery, novels, magazines, books, greeting cards / wedding, packaging, labels and others. Bettrisia Script has 680+ glyphs and 487 alternative characters, including various language support. With the OpenType feature with alternative styles and elegant ties. The OpenType feature does not function automatically, but you can access it manually and for the best results needed for your creativity in combining this Glyph variation. The OpenType features can be accessed using OpenType savvy programs such as Adobe Illustrator, Adobe In Design, Adobe Photoshop versions of Corel Draw X, and Microsoft Word. And this font has given PUA unicode (special code font) so that all alternative characters can be easily accessed in full by craftsmen or designers. Need help? If you need help or advice, please contact me by e-mail at greatstudio92@gmail.com Thank you for your purchase!

Since many years I live in Munich and read the daily newspaper Abendzeitung. One morning they had redesigned the paper, using Eric Gill's Joanna for the body copy and a tweaked version of Franklin Gothic for the headlines. Since both typefaces are my all-time favorites, I was very pleased. The old hand-lettered title lettering designed by in-house designer Ernst Friedrich Adler around 1947 or 48 was untouched as it always was. Adler had worked for the newspaper an incredible 47 years! Ernst Friedrich Adler celebrated his 100th birthday in the summer of 2007 looking very healthy. But someone had adapted his title lettering for use in the chapter headings, and I did not like the way that was done. Every morning I saw those letters and thought "one day I have to clean that up". About 15 years later I finally did it! Being at it, I designed the whole typeface and added a second fancy cut. And, what do you know, the people at the Abendzeitung called me up and said they liked what I did and started using it. So since that day in 2005 I can read my morning paper without having to wonder about the chapter headings. Well maybe one day they will do another redesign and maybe they will use another one of my fonts. Your editorial typeface designer, Gert

Street Punks: Graffiti Inspired Marker Pen and Paint Brush Font A hand-drawn font inspired by graffiti and skate culture that comes in two pen and paint styles. Plus a shed-load of alternatives for designs that come straight off the pen (or brush). What happens when you combine graffiti, skate culture and 80s movies? You get Street Punks; a gritty, no-nonsense design that's equally at home on a ripped t-shirt or opening a horror movie (with ninjas!) Choose the slick look of marker pens or the textured roughness of paint brushes. Mix them up, play around and have fun. It's up to you! Street Punks comes with a complete set of alternatives and underlines with each style, so you’ll never have to repeat an E or an I; the tale-tell signs that give away other hand-made fonts. It also features all-caps uppercase and lowercase characters, along with numerals, punctuation and language support. It's a font that gives you tools to create some truly unique designs with just a little bit of work. The perfect choice for t-shirts, posters, stickers, movie titles, YouTubers and more! Street Punks: Marker and Paint Marker Regular Marker Alternative Marker Underlines* Paint Regular Paint Alternative Paint Underlines* *Underlines are assigned to keys: ABCDEFGHIJKLMNOP Find more from The Video Store Collection at Wingsart Studio

Most traditional display fonts are old-fashioned and hard to read in small sizes and are not applicable for any contexts in which you need to deliver messages to the audience clearly. Therefore, think about a beautiful, clean, legible modern font which is multipurpose and applicable anywhere along with the pretty serif style. Warm Curves is a display serif font to meet your needs. This elegant, modern, legible display serif font is perfectly applicable to formal, serious contents. It looks more stylish and has its own protruding characters to strengthen the points delivered. Furthermore, this display serif font is legible due to the thick, regular serif to ease readers to recognize every letter accurately. For that reason, you can use this font for any text length and size due to its great legibility. Also enjoy interesting features available in this font. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Warm Curves fits best for various design projects, such as brandings, posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Some time ago I bought my smallest book ever: Kate Greenaway’s Alphabet* 57 x 72 mm. I thought it was the sweetest little book I had ever seen. Not knowing about the fame of the designer Kate Greenaway (1846-1901), I put it in some dark drawer and looked at it from time to time. Kate’s books were all outstanding successes in English publishing history; she was an icon of the Victorian era. Some of those books are still being reprinted today. This little gem I had accidentally acquired has become very rare and I have not found any reprints yet. So I thought maybe I could adapt her drawings for use on today’s computers. I ventured to redraw her delicate illustrations, blowing them up 300 percent, being forced to simplify them without losing her touch. It took quite some time! While redrawing them, I discovered that she most certainly drew them in at least three different sessions as well. Then I scanned my drawings and put them in a font. To make the font more usable, I added the ten numerals in Kate’s style; the original does not have those. I hope she would have liked my adaptations. Yours in a very preserving mood, Gert Wiescher. * Kate Greenaway’s Alphabet, edited by George Rutledge & Sons, London and New York, ca. 1885.

Here at Comicraft we have seen the signs on the headline news, we have read the portents of things to come... yes, just as thunder is a sign of storm, just as pumpkins outside Ralph's on November the 1st are sure to be on sale, just as fresh produce becomes rotten, as sure as night turns to day, dark turns to gray, winter turns to spring and milk turns sour if you leave it out on the kitchen table overnight... Yes, here at Comicraft we know there's a signpost up ahead... a sign heading not into the twilight zone, but down a road of hope and hard work, a banner year, a red letter day, we know it's time to knuckle down, soldier on and pull ourselves up by our bootstraps. Well, we should probably pull ourselves up by our bootstraps BEFORE we soldier on, NEVERTHELESS, here it is -- not a soundbite, not an unfulfilled campaign promise -- SignLanguage is a font that makes the impossible possible, a font that cuts the taxes for 95% of American families, a font that closes down Gitmo and brings our troops home from Iraq. Senator Joe "Six Pack" Biden has described SignLanguage as articulate and bright and clean -- and a nice-looking font. In conclusion, Comicraft recommends you elect Sign Language.

Bfrika is an 'Africa inspired' typeface and a contribution for the typographic issue 'National Typographica' of I-Juici Magazine, in South Africa. This geometrical decorative design represents bold simplicity, directness and rythm. The name evolved from text for the spread in the magazine. The B replaces the A. Africa be free. Bfrika. The concept behind Bfrika is to generate an unpredictable visual rhythm in an attractive decorative presentation. Filling up the white space around the letters accentuates form over function, thus creating an interference of visual impressions with its legibility. This visual rhythm is amplified by its redundancy in a text, only pausing at a break or a word space. Based on the concept of separate printing forms in letterpress, Bfrika Two Tone and Bfribat Two Tone separate the letter from the outside form in two fonts. Placing two text frames exactly on top of each other and assigning each part of these font to a frame in a different color, offers a quick way to add color. Originally Bfrika was designed for I-Jusi magazine #17, National Typografika, South Afrika 2001. Bfribat and both two tone fonts were created for Building Letters, a fund raiser for orphanages in Kenya and Uganda (www.buildingletters.org) and are also available for Mac and PC at www.hollandfonts.com and will be distributed in 2004 through associated foundries.