Kewl is the result of being caught in the afterimage of one design project while conceptualizing another one. Just before finishing the final tests on Mrs Blackfort, the first of what became a long series of Charles Bluemlein fonts, some of the letters began morphing differently in my mind. The idea was to go on the heavier and more playful side, but with a South American sign letterer’s twist, rather than just good handwriting. I did some sketching, took some notes, then got busy with other projects. Some of that stuff eventually seeped into Candy Script and, to a lesser extent, the Whomp font. But it was only a matter of time before I got back to the original concept and finished it. Kewl is ideal for food packaging, book and music covers, magazines, and window splashes. Illustrations by Catriel Martinez.

Say hello to Viennese Waffles!! :) A nice, wobbly, playful pencil font with a handwritten inscription-with a fine texture built right into it!! Great for outstanding quotes, playful branding, children's books, fancy greeting cards, cooking recipes, menu design and more! Font Features A-Z; character set a-z; 1 language (English); numbers and punctuation marks, symbols A font containing uppercase and lowercase letters, numbers, and a wide range of punctuation marks. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required, and to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop Made with love and magic ♡ Thank you for checking it out and feel free to send me a message if you have any questions! ~ Anastasia

As a family, we love to go camping. We have a big Norwegian tunnel tent (4 season - with room for a wood stove), some really warm down sleeping bags and a primitive field kitchen. Even though our camping trips are usually devoid of luxury, the kids love them! We always choose campsites that are close to nature, like a national park or in the mountains. A couple of years ago, we toured the southern part of England and one of our camping stops was in Exmoor National Park. Minehead is a small coastal town, not far from where we camped, so I named this font after a fond memory! Minehead is a handmade display font. It was loosely based on Haettenschweiler. Use it for your packaging, your tourist information leaflets and your book covers. And do visit Minehead one day!

Caroni is a cute handmade typeface, which was originally created in 2018 as a free font. It has a simple and clean look, and works great for longer texts. Caroni has already been used in numerous children's books, so now it was time to extend Caroni's look, and add more styles. The Caroni Family at a glance If you like Caroni, you will love the Caroni font family! Caroni now comes in bold and italic, and it has nine awesome siblings: Avenue (all dressed up with stylish serif strokes) Lime (the skinny version of Caroni) Avenue Lime (the skinny version of Caroni Avenue) Tabanca (dark and heavy, this is Caroni's brush version) Doubles (enhanced with fine lines) Fete (with fun little dots) Coconut (Caroni's outline style) Soursop (Outline with dots, a great display font) Carnival (a quirky and fun all-caps version) Caroni was created while staying with a friend in Trinidad, hence the names :) Languages supported: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Jola-Fonyi, Kabuverdianu, Kalenjin, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Morisyen, North Ndebele, Northern Sami, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkish, Turkmen, Upper Sorbian, Vunjo, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Zulu

A flare-serif socialite. Elegant and affable at once. Leifa is a flare-serif typeface that strikes a balance between elegant and affable. It’s pleasant to read in text sizes yet takes center stage in headlines and display applications. With its higher-than-usual contrast, Leifa might evoke Didone typefaces at first. However, it differs from strictly Didone designs in the details: flattened serifs and deeply incised, tapered spurs provide an organic effect. These humanist elements are restrained and almost inconspicuous in body copy. It’s in display sizes that they realize their full potential. Set your message in Leifa, set it large, and it will get noticed. A true socialite, Leifa is a most welcome guest on any party. With its dual character and a range of weights that allow for fine-tuning the desired visual voice, it’s a brilliant choice for branding and editorial design. Its good-natured yet sophisticated character makes Leifa the perfect typeface for fashion, sports, lifestyle, social media, food and cooking, health, beauty, architecture, interior design, art, literature, theater, and travel. (And any other topic that you’d love to talk about at a dinner in good company.) The entire font family consists of eight weights. Each comes with an italic counterpart, totaling 16 styles. Leifa’s italics are oblique, optically corrected versions of the upright styles. Each style comprises a character set of 883 glyphs that includes small caps, a set of ligatures, tabular and old-style figures, case-sensitive forms, fractions, symbols, and many other features. Four stylistic sets allow you to adjust the appearance of the Leifa fonts: a single-story a (SS01), a simple f (SS02), a triple-story g (SS03), and thin punctuation marks (SS04) are at your disposal. If you’re looking for a typeface with some debonair spirit, look no further than Leifa.

While Adelle is a slab serif typeface conceived by Veronika Burian and José Scaglione specifically for intensive editorial use, mainly in newspapers, magazines, and online, its personality and flexibility make it a true multipurpose typeface. Adelle’s superior screen rendering and cross-platform consistency has also made it one of our most popular webfonts. The intermediate weights deliver a neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobtrusive appearance, excellent texture, and slightly dark colour allow it to behave flawlessly in continuous text, even in the most unforgiving editorial applications. As it becomes larger in print, Adelle shows its personality through a series of measured particularities which make it easy to remember and identify. Its energetic character, so inherent to slab serif fonts, becomes evident when used for subheadings and headlines. A condensed series of seven weights with matching italics expand Adelle’s possibilities. This extension provides flexible solutions in situations where saving space is vital but losing legibility is not an option. The new condensed series shares the same personality, proportions, and skeleton of the Adelle family, creating an harmonious texture when combined. Be sure to check out the companion to Adelle, Adelle Sans, to complete the look of your design with the intended personality and flexibility. Awards – Third prize for Latin text typeface in the 2009 Granshan Type Design Competition – Won Gold for Original Typeface in the 2010 European Design Awards – Selected in the first Ukrainian typeface competition in 2010 – Exhibited at the Rutenia Calligraphy & Typography Festival (http://rutenia.org.ua/en/index_u.html) in Kyiv, 2010 – Selected in the 2011 Type Directors Club Tokyo Exhibition – Selected in Communication Arts 2011 Typography Annual – Selected in Yearbook of Type I, 2013 – Part of the exhibition «Call for Type» and subsequent book Neue Schriften (New Typefaces)

very traditional forms strongly slanted italic consistant proportions extraordinary ligatures swashes alternate letters alternate figures lower case l with a hooked “foot” Believe it or not, there are hardly any sans serif fonts in which the lower case letter l also has the hooked form of an l. Instead, we readers have to constantly distinguish whether we are seeing an uppercase I or a lower case l — just take a look at the word “Illinois”... The ingoFont Analogue was developed for exactly this reason. The intent: To create a pretty much »ordinary«, even classical font with its most striking characteristic being the inclusion of the “crooked l.” As a model, I used the »mother of all sans serifs«, Akzidenz Grotesk from Berthold, with its beginnings going back to the 19th century. Analogue is so to say a new interpretation of Akzidenz Grotesk from ingoFonts. All characters — following the model — have been newly designed. And if you want to emphasize the shape of the hooked foot even more, you can also activate the alternate styles for d, h, m, n (Style Set 1). Conversely, the alternate a somewhat softens the “hooked” impression (Style Set 2). The slanted versions — it isn’t truly a real cursive font — are noticeably stronger with 13° than the italics in comparable fonts, and were given a round e with a mind of its own which distinguishes itself considerably compared to the upright characters in the overall appearance of the font. More modern and formal solutions in detail were chosen for some of the characters, for example the M was given lightly slanted sides; the a reflects the curves of the s; the “feet” of a, l and t match; the flared legs of K and R became a “foot”, too. General proportions were carried over almost completely with no changes from Akzidenz Grotesk as well as the slanted trimming on the open forms of a, c, e, s; in comparison, C, G and S were given straight endings. Analogue contains many ligatures, even discretional ligatures, plus proportional, old style as well as tabular figures. All in all, at first sight Analogue brings back memories of the charm of its well-known predecessor; and yet, many small differences give Analogue an unmistakable certain something...

In NewLibrary the letters are on books, not in them. (The letters are from the typeface BeneScriptine). The NewLibrary fonts have characters with blank books, both solid and outlined, that can increase coloring possibilities. Instructions on how to form the layers or alternatively to get the effects with a string of characters, some with zero width, are given in this pdf file.

The Dollfus Mieg Company was founded in 1800 by Daniel Dollfus (1769-1818) and Anne-Marie Mieg (1770-1852). In the 1890s and again in 1901 it published Monograms and Alphabets for Combination, a book with alphabets and monograms for cross-stitching. This book served as example for several digital fonts by Paulo W. Here you can get one of them,

Friem is a hand drawn font inspired by fonts that are usually used for children’s book titles that have a bold, messy and funny impression. Available in two clean and textured styles, this font is suitable for use for logos, book titles, movie posters, YouTube content, quotes, and more. There are ligatures that add features to this font, only in uppercase characters.

New from Black Studio, presenting Megilona is a typeface that is feminine, adaptable, aesthetically contemporary and creates limitless variety for your creative needs. Megilona really helps you create unlimited variations for your creative needs in making your project titles: such as Books, fashion, magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. Thank you!

Over the years I have bought many books and music CDs in persuit of my passion for African and Latin (and especially Afro-Latin) cultures. I've noticed that a great number of these books and CDs feature either of two popular display fonts that are, in my opinion, very much overused. As an alternative, I designed Tambor. The Tambor family includes seven styles.

his is a beautiful, modern, and super readable font. You can use it in any kind of text, from folders to prayer books. This font is especially good for school and kid's books. This font also has modern punctuation: shevana, kamats katan, dagesh hazak, and holam chaser. This is a Variable font! One font with 5 styles (Regular, Medium, SemiBold, Bold, Heavy)

Foliage Exotica is a serif font that can add a playful touch to your project. It comes in a brush handwritten dreaming style. Foliage Exotica is perfect for casual types on greeting cards, illustrations, quotes, quaint branding, book covers, children's books, packaging, and more. Features: - Total 230 Glyph - Uppercase - Numerals & Punctuation - Alternates and Ligatures - Multilanguage Supports 60+ Latin based languages

Queen Sipur is pretty style modern font. Nice to application for cute, funny, playful, cartoon, birthday and cover book.

Wild curves, flavours and experimentation. That is Dans Le Cuisine, a set inspired by 60’s Chile cooking magazines.

Italianno is an elegant, calligraphic script with clean connectors and classic forms. Perfect for invitations, scrap-booking, and packaging.

Mambu Langu font is handwritten style. Nice to application for poster, comic, cover book and tees, diary and poster.

Legible connected-script. Applications include captions, fashion headlines, packaging, invitations, cards, posters, ads, greeting cards, book jackets, and covers.

Brougham keeps its legibility with a strong presence. Usage recommendations: Captions, packaging, cards, posters, ads, book jackets and manuals.

This is a fun, multi-lingual font made for children's publications. Perfect for books, magazines, posters or various gadgets.

Renamed font (was Georgia) and refined outlines to make it stand out on your next book jacket or tatoo.

Dotee inspirit by lettering from soviet book. Dotee is fat decorative font with numerous cut style ligatures and alternatives.

This font is ideal for cartoons, greeting cards and children's books, as it has a happy 'feel' to it.

Glitter Candy is a happy font: rounded, fat and cute. Ideal for children’s book covers, posters and product packaging.

Hassan is a traditional-style Arabic text face designed by Hassan Sobhi Mourad, an experienced calligrapher and teacher of the art and first produced by the Linotype Design Studio (U.K.) as a PostScript font in 1993. An individual Naskh style, Hassan cleverly combines elegant proportions, echoing an inscriptional Thuluth in its tall vertical stems and deeply rounded final jim and ain. The effect of verticality is enhanced by the tense, reined-in kerning strokes of ra and waw, the well-poised lam-alif, and the compactly drawn ligatures. The broad-band strokes of Hassan Bold smooth some of the angularity and relax the tension apparent in the Light. The traditional-style ligatures are rendered with an easy flow. Because of the economical character count, Hassan Light and Bold text may be headed by the compact titling styles (Hisham, Mariam) as well as designs like Ahmed or Kufi which answer to the inscriptional qualities of Hassan. In addition to other uses, Hassan would be particularly suited to document text-setting. Hassan’s two OpenType weights include Latin glyphs from Janson Text Roman, and Janson Text Bold, respectively, inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The OpenType glyph ranges incorporate Basic Latin and the Arabic character set, which supports Arabic, Persian, and Urdu. The fonts include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Tambau is a display typeface crafted by Matheus “Fio” Gonçalves, a Brazilian design student, still in college, inspired by Brazilian concert urban posters and wood type that I saw at the Oficina Tipográfica São Paulo. The font was first made for a magazine project in design school, making it beautiful on giant pages headlines, billboards, signs, etc. There’s no lowercase, the character set is dramatic and objective. The uppercase is actually expanded letterforms causing some eyes and breathing paths to the very condensed and very modular glyphs, which creates a quite interesting striped texture between form, counterform and spacing. The lots of ligatures come to give it more closure between the letters, when they try to form blank spaces. So do the diacritics, fitting in the space given to them by the dynamic letterforms, making dense rectangular blocks. You may use Tambau as big as you can or do a high tracking to it and still it will be pretty. The titles can be dynamic, just condensed or just large. It’s on your own. Don’t be afraid to play with Tambau, it’s an alive typography. Curiosity: For the magazine in design school, the pilot project of Tambau was cut in a MDF board, to print it with texture and paint. Later was added more characters, languages and special glyphs to it. Set: Tambau is a singular font typeface, with extended and condensed characters, numbers, ligatures, punctuation and symbols for Basic, Western, Central and South Eastern Latin languages.

Jazz Gothic is a digitization and expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare. This type became an instant titling classic with jazz and soul album designers; then it caught on wildly with film and television designers. Blue Note and Motown would not have been the same without this face. Jazz Gothic is a simple geometric idea, quite likely originally inspired by the heavier display weights of Futura. The resulting product is a versatile message-driver that stands quite strong and cherishes the limelight, yet shows a playful and artistic side within its curvy thick swashes and rebellious unicase forms. In the hands of a good designer, Jazz Gothic eliminates any doubt about the delivery of the message or the attractive purposeful way it is delivered. It is the kind of typeface that loves a design program's bells and whistles. Knock it out of dark or light backgrounds, shade it, mask-alize it, roughen it, stretch it, squeeze it, and the message will still stand larger than life. Jazz Gothic comes in two fonts, a main one with a full character set to accommodate the majority of Latin-based languages, and a second one that contains about 50 alternates and swashed forms. The OpenType version is a single font that has all the alternates and swashes at the disposal of the buttons of OT-savvy program palettes.

Refinery is the newest font in the Evanston Collection of square typefaces. With a similar capital structure to Tavern and Alehouse, Refinery includes both lowercase and small caps, making it an ideal typeface for paragraph text settings. It also comes in a wide array of weights and widths, with 85 font files in total. DESIGN Refinery has it’s roots in early 20th century signage and saloon typography, but has been modernized - even future-ized - to fit the 21st century digital landscape. The design was aimed at providing a type family that could work in many modern design fields, from sports, tech and military to gaming, HUD, virtual reality and augmented reality. ENGINEERING Essentially. Refinery is a simple mono-linear square design has been expertly refined into an easy-reading sans serif typeface. It was designed to be used in both display and text settings. From hairline to black in ultra-narrow or extended, the wide array of weight and width options makes it easy to find the right font for each text need. SPECS Refinery not only includes 85 font files, but each one include a wide array of Opentype Extras that allow even further customization. • Stylistic Alternatives: Letters A W Y have a styling variation that rounds the pointed apex into a square curve. The S and 2 variation straightens the spine, making all curves in the alphabet read as 90º angles. • Small Capitals: A shortened version of the capitals for alternate header settings. • Titling Alternatives: In this typeface, this feature turns on lifted small caps. Take the small capitals, raise them to level with capitals and underline at the baseline. When multiple lowercase or small capital letters are typed in a row, the underlines connect, creating unique ligatures. • Figures: There are different figure styles for different text needs. Options include, proportional lining, tabular lining (for math), old style and small capitals. • Discretionary Ligatures: A little funk to this otherwise serious typeface. Letters with a long baseline or cap height stem - F, L, T - get elongated to hug a small capital vowel. Other ligatures include Co. and No. • Catchwords: These are common words that bring emphasis to a design. In English these words include ‘and’ ‘as’ ‘by’ ‘in’ ‘of’ ‘the’ ‘to’ ‘when’, among others. Refinery also includes multilingual catchwords of ‘el’ ‘la’ ‘oder’ ‘go’ ‘para’ ‘pour’ ‘und’ ‘y’, among others. For the full list, please check out the specimen images. EXTRAS To round the typeface off, a set of over 150 ornaments, icons, arrows, patterns and line breaks is included to provide complimentary graphics. These can be found in the Ornaments labelled font, it is recommended to use the Glyphs panel to select which text glyph is needed.

This collection of decorative initials culled from specimen books of the late 1800s will add nostalgic charm to any project.

This font has complete kerning pairs for all languages. Designed for books, leaflets and for outdoor use like a banner.

The hand-lettered name on a couple of 1940s-era piano course books was the basis for Piano Solo JNL.

Usage recommendations: Captions, fliers, packaging, cards, posters, ads, book jackets, manuals, menus, bulletins, magazines, greetings, announcements. Not suitable for MSWord.

Flat pen script font designed for use on posters, titles, book covers, greeting cards, packaging, invitations, magazine articles and advertising.

This is a new beautty classic font. This font is usually use in invitattions, small texts, book covers and monograms