Eingrantch Monospaced is a monospaced sans serif based typeface, inspired by an old Continental typewriter in sans serif version. Available in 7 weights from thin to black. Well suited for modern logotypes, branding, editorial design as well as web and screen design.

Here's another Disco-era darling, based on Wolf Magin's contemporary offering, originally called Black Line. It's a natural choice for sassy headlines with a cool Retro vibe. Both versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Sluggo, a loose, 3D-ish face with the look of a slightly sloppy brush line, comes with attitude to spare. Has five styles: Regular, Lefthook, Righthook, Open, and Black--all spaced and kerned so that you can stack them for special effects.

These Oksana Text Swash Cyrillic fonts have swashed initials and ampersand for Oksana Text italics in six weights from Thin to Black. They support basic Latin and European Cyrillic. For all-in-one fonts please look at that OpenType version of Oksana Text.

Steclo is a semi-closed narrowed display sans-serif typeface with pronounced technical character. It comes in 9 weights from Thin to Black accompanied by corresponding oblique italics. Steclo features rich language support including pan-European Latin and basic Cyrillic glyph sets.

Dausby is the elegantly slanted handwriting of the 1850s. It was based on records written with a flexible tip dip pen and jet black ink by Mr. Dausby. Made for those of you who are just looking for an affordable handwriting font.

Old English Old English is related to Black Letter styles from early printed books and have a distinguished, historic look. The Old English font is used in advertising, invitations, greeting cards, and wherever a formal hand-lettered or engraved look is desired.

Ribelano is a serif display font that represents clear, contrast, and sharpness. The font comes in 6 different weight styles from Light to Black and it comes with 300+ glyphs. Perfectly suited for display needs such as heading, branding, logos, poster, etc.

Remedia is a simple linear typeface with a wide range of font weights, from a hairline Ultra Light to Extra Black. Legible in body copy and a great starting point for a unique logo, Remedia is a creative typeface for everyday uses.

Krom Mono is a modular monospaced font built with pixel shapes. Designed for headlines, posters, and small size body text. This family consist of 9 weights from thin to black plus variable font with a character set that covers over 90 languages.

Ductus is a five weight typeface that is both ancient and contemporary. Drawing on various sources such as rustic capitals, Naskh arabic calligraphy, and black-letter, Ductus is a reflection on how the broad-nib pen can be relevant for today’s designer.

Carlgine is a unique and modern family of serif fonts. Carlgine has 18 families Regular and italic font, starting from the small thin to the largest black. This typeface is versatile and can be used successfully in magazines, posters, branding, websites, etc.*

Olivier is based on painted black ink letters. Inspiration for this typeface is fluidity of wine. Shifting base-, mean- and cap lines, varying tails and ascenders give it an organic, playful feel. The font is suitable for logo types, short paragraphs and headings.

Minimal and modern sans serif consists of 10 weights from hairline to black as well as variable versions. Works great for branding, fashion, modern, and casual valentine design theme. Designing a logo is made easy with lots of alternates to play with.

Carltine is a unique and modern family of Sans serif fonts. Simply Conception has 18 families Regular and italic font, starting from the small thin to the largest black. This typeface is versatile and can be used successfully in magazines, posters, branding, websites.

A further development of the Colosseum range but this with a slab serif. Visually monoline and modern in appearence it still retains its Trajan characteristics. The addition of Spartacus black with its unusual Italic gives a the face a strong original headline font.

Chennai’s market-tested type styles have taken new form once again. The geometric forms of Chennai and its derivant Madurai, both successful in web-based applications and logotypes, have now been adapted for the superfamily Madurai Slab, a potent, square slab serif ideal for headlines and posters. Under the surface of Madurai Slab’s straightforward geometric structure, the font’s exaggerated vertical serifs provide the face with an extra chunk that commands the reader’s attention and gives the font more impact in its heavier styles. The extra-fortified forms are anything but monotonous, though. The bolder structure of the slab is instead rational, diligently thought-out, with minimally contrasting strokes, making the sturdier look particularly legible in shorter textual content blocks. This child of Madurai contains a comprehensive range of nine weights--slender to black--and features condensed and extender selections for a complete set of fifty-four fonts. All users of the Madurai Slab collection can access numerous OpenType alternates. Madurai Slab is furnished for experienced typographers, together with alternates, compact caps and many alts like “normalized” capitals and lowercase letters that come with stems. The typeface also contains a range of numeral sets, together with fractions, old-style and lining figures with superiors and inferiors. OpenType-capable programs including Quark or the Adobe suite allow quick changes to ligatures and alternates. Previews of these options can be found in the .pdf brochure. Madurai Slab also features the glyphs to enable all Central, Eastern and Western European languages. In all, Madurai Slab supports around forty languages that utilize the prolonged Latin script, making it an excellent option for multi-lingual publications and packaging. This richness of options makes this the best slab serif family for websites as well as for print, motion graphics, logos, t-shirts and the like. Madurai Slab is a great choice when looking for a Neo-Grotesque slab serif font. In the hands of a learned designer, this new slab offers the potential for beautiful and well-blended layouts. With its widths adjusting to compact and extended content blocks, this typeface is perfect for the headings, captions and other brief, immediate messages that you need to drive your message home.

Bold, black and square. But was first drawn as a logotype for the magazine "BUT – Bilder und Texte" (pictures and texts) which was published by an experimentally-oriented non-commercial initiative. In consideration of the unusual dimensions of the magazine (6 x 14 cm / 2,4 x 5,5 inch), I decided to fill as much space as possible with the body of type. This formal idea refers to the meaning of the title by blurring the border between legible letters and abstract shapes. Because of its origin, But is ideal for short messages in headline point size. Despite its blocky shapes, But creates a friendly atmosphere. The details are as playful as the restrictions that are given by the concept allow them to be. Punctuation marks and other special characters contrast the boldness of the design since they are matching the thin parts of upper- and lowercase letters. This also avoids gaps when longer texts are set. But is available in open type format and has an extended character set (Latin extended A). Two sets of numerals, one matching the x-height and another one matching the cap-height, are provided.

Aphrosine is a font based on pointed pen script. A huge lot of alternatives and smart OpenType features allow it to look almost indistinguishable from real live handwriting. Aphrosine is something between handwriting and calligraphy: it took too much effort for being “just handwriting” but lacks seriousness and regularity comparing to true calligraphic fonts. That’s why it was called after a peculiar character from a children’s book: a witch who was very fond of dressing, makeup and writing letters. Aphrosine has three faces. But unlike most other type families, the glyphs from one face do not match exactly the glyphs from another one. The faces are based on writing with different nibs but by the same hand. The type is designed by Alexandra Korolkova and Alexander Lubovenko and released by ParaType in 2015.

Joyful Turkey - Display Thanksgiving Font is a charming and playful typeface designed to embrace the spirit of Thanksgiving. Its quirky and rounded characters add an element of fun and warmth to your designs, making it the perfect choice for projects that celebrate this special holiday. This font includes seven delightful decorative variations with Thanksgiving-themed elements such as turkey, pumpkin, pie, leaves, and more. Ideal for Thanksgiving-themed designs, including invitation cards, birthday invites with a Thanksgiving theme, party decorations, logos, stickers, clothing, packaging, children's books, magazines, and more, Joyful Turkey brings a delightful and heartwarming touch to your creative projects. With its whimsical and cheerful style, this font captures the essence of gratitude and celebration, making it an ideal choice for designs that reflect the Thanksgiving spirit.

Thanksgiving Joy - Various Fun Font is a whimsical and playful typeface designed to celebrate the spirit of Thanksgiving. With its rounded and friendly characters, this font adds an element of fun and warmth to your designs, making it a perfect choice for projects related to this special holiday. This font boasts nine delightful decorative variations, each inspired by different Thanksgiving motifs like turkey, pumpkins, pie, leaves, and hats. It's an ideal font for creating Thanksgiving-themed designs, including invitation cards, birthday invites with a Thanksgiving theme, party decorations, logos, stickers, clothing, packaging, children's books, magazines, and more. With its charming and playful style, Thanksgiving Joy captures the essence of gratitude, celebration, and the joy of Thanksgiving, making it an ideal choice for any project that aims to bring the warmth of this holiday to life

Acantis is a strong script font with a vintage look inspired by the lettering designs of the 1980s but updated for today's projects. Acantis is the perfect mix of elegance and informality. Open Type features include a full complement of international characters, standard and contextual alternatives, swashes, stylistic sets, standard and discretionary ligatures. All of this makes the text lively and animated, without the monotony of obviously repeating letterforms. Also, we've included some ornaments designed to support the font, some were specially designed to be combined with the letters for a "more calligraphic" effect (access them via the glyphs palette). Acantis can be the choice to create titles, logos and posters for branding and packaging purposes, invitations, greeting cards, magazine and book covers, children's supplies, fashion, and wherever you want!

Express your imagination with Wonder Night! a fancy fantasy font inspired by magical storybook and horror-fantasy movies. This font created with a very bouncy of letterforms, and carefully kerned into a readable typeface. Wonder Night is an all-caps font that easy to play with. You can combine the uppercase and small caps to get a more playful design. Also completed with alternates and doodles as the decoration to get a more beautiful design. Wonder Night is suitable for children's merchandise, books, logotype, T-shirt, poster, title, quotes, and more! Fonts featured : - Uppercase - Small-caps - Numbers - Punctuation & symbols - Accented characters - Stylistic alternates - Stylistic set 02-03 - Doodles (simply type 'underscore' and 'A-N'; eg: _A, _B, _C etc) Thank you for visiting and supports. Have a nice dream! ramz

ZT Kloftel has three variants of handwriting with different auras and also gets one variant of icons with a sketch style, this helps add depth to the art of handwriting. ZT Kloftel Stalle is a well-matched and Beautiful Style with natural lines, with a very large difference between uppercase and lowercase letters, and can produce a very natural writing style. ZT Kloftel Wortugo with a wider groove, with a messier concept, it also has its own uniqueness, such as children's writing which is suitable for branding explanations, or graffiti explaining your designs. ZT Kloftel Zlamora with a small and chubby style exudes a relaxed aura, perfect for vintage branding or your sad sunset caption I hope you have fun using ZT Klotin Thanks for using this font ~ Khaiuns X zelowtype

Jester Jumble - Fun Clown Font is a whimsical and playful typeface designed with a clown and circus theme in mind. Its quirky characters add an element of chaos and fun to your designs, making it perfect for projects that require a playful touch. This font includes six adorable clown-themed decorative variations, featuring circus hats, masks, laughing mouths, and more. Perfect for clown-themed designs, such as invitation cards, birthday invites, party decorations, logos, stickers, clothing, packaging, children's books, magazines, and more, Jester Jumble adds a delightful and entertaining dimension to your creative projects. With its charming and playful style, this font captures the essence of circus merriment and clownish fun, making it an ideal choice for any project that aims to bring a smile to people's faces.

Waghu is an abstract font that you can use for casual design purposes. It is also right for you to use it for formal design purposes, this font can adapt beautifully if you use it in your project. there are three alternatives thin, regular, and bold. makes it easier for you to combine them according to your needs. This handwritten font is perfect for children’s magazines, drink banners, games, posters, beverage, outdoor events, thumbnails, food banners, cheerful writing, film titles, quotes, titles, logos, and various kinds of projects you need, of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a complimentary font family, both for titles and subtitles and sentence text. start using our fonts for your amazing projects.

Introducing “Lonarue Font” – Where Playfulness Takes Center Stage! Lonarue Font is your passport to a world of creativity and fun in typography. This whimsical typeface is carefully crafted to bring joy and a touch of playfulness to your designs. With its lively and distinctive characters, Lonarue Font is the ideal choice for projects that demand a dash of imagination. Whether you’re designing children’s books, cheerful greeting cards, or vibrant logos, this font adds a delightful charm that captivates your audience. Embrace the playful spirit of Lonarue Font and let your creativity shine. Elevate your designs, capture attention, and create lasting impressions effortlessly with this versatile typeface. Experience the magic of Lonarue Font and infuse your projects with the joy of playful typography today! – PUA Encoded Characters – Fully accessible without additional design software.

This year we attended the Bologna Children’s Book Fair in Italy. In our days off, we went to Piazza Maggiore to see what the city had to offer and luckily for us we saw an incredible store sign saying CAMPORA. We took some pictures of the typed font and later back in the studio we discovered that it was Dynamo. Immediately our minds were blown away by its beauty and thus we decided to design a new font inspired by its sharp and geometric design adding new weights and OpenType features. In the process we realized that both Dynamo and one of our favorite fonts Avant Garde, share a similar structure, so we made a type mashup between these beauties, including the sharpness of Dynamo and the revolutionary ligatures of Avant Garde.

Magie is a handwritten font with a strong casual and expressive character. It has the peculiarity of being able to combine capitals and small letters in the same word or in all capital letters. Containing full OpenType features such as stylistic and contextual alternates, swashes, ligatures, initial and terminal forms, up to seven stylistic sets per letter (in uppercase and lowercase). We also include catchwords and ornaments. Imagine the amount of combinations you might do giving your text freshness and naturalness without equal! 
Magie has a Central European language support to fit your design. This font may looks beautiful on wedding invitations, greeting cards, logos, posters, labels, t-shirt designs, logos, business cards and is perfect for use in ink or watercolor works, fashion, magazines, packaging and food menus, children's books and more!

With 662 glyphs, Anemos font is the perfect mix of elegant and casual. The Open Type features include a full international character compliment, standard and contextual alternates, swatches, stylistic sets, initial forms, standard and discretionary ligatures (capital letters have at least six different forms and the lower case letters ten). All this makes the text lively and bouncy, without the monotony of obviously repeated letterforms. In addition, we have included some ornaments designed to support the font, some were specially designed to be combined with the letters for a "more calligraphic" effect (access to them through the glyphs palette). Anemos can be the option used to create titles, logos and posters for brand and packaging purposes, invitations, greeting cards, magazines and book covers, children's material, fashion, and where you want it.

Australian designer and art director Wayne Thompson has loved typography “ever since I received a battered second-hand Letraset catalog at the age of 10.” He based ITC Django on the handwriting of an acquaintance -- “a fellow I know who writes and illustrates children's books and is also a commercial artist” -- who called himself Django, after the jazz guitarist Django Reinhardt. “I felt that that name Django suited the funky, lively feel of the face,” says Thompson. But he adds, “Django has a split personality: it appears loose and easy at first, but after looking at it for some time I felt an edginess come through that was slightly psychotic.” The looseness of the lowercase contrasts with the spikiness of the capitals. The “edginess” is especially apparent in words in all caps.

Introduce our newest font named Rufing. There are three alternatives in this font, thin, regular, and bold. which makes it easier for you to arrange a proportional and captivating design layout because the character of this font is suitable for use as logos and titles and of course it is also flexible in use in text and sentences. This handwritten font is perfect for children’s magazines, drink banners, games, posters, beverage, outdoor events, thumbnails, food banners, cheerful writing, film titles, quotes, titles, logos, and various kinds of projects you need, of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a complimentary font family, both for titles and subtitles and sentence text. start using our fonts for your amazing projects.

Vinlatte is a font inspired by the uniqueness of a cake topping by giving a hollow accent and arranged in such a way that makes Vinlatte very elegant and classic with a style that displays a uniqueness in each character of the letter. Vinlatte is shaped and made by combining the contours and anatomy of regular letters in general as a strong base and modified by giving a cavity accent so that it has a unique value and when used in a template, poster, cake advertisement, children's magazine and of course it will be very interesting for them. . who see it and will definitely make the product look more attractive, unique and will bring the soul to your product and of course add to the selling value of your product.

Like a figment of the imagination, this very readable font wafts across the page, leading the reader into a world of enchantment. Ethereal and fluid, it is reminiscent of sorcerer's spells written on ancient parchment. It manages, by the distortion of its characters, to transform a simple serif font into something quite different. Wavy outlines and an uneven baseline create an impression of fluidity and magic, while retaining the essential clarity of the classic serif body font. Use Figment for: -- Children's books -- Halloween advertising media -- book covers -- movie titles -- swing tickets -- posters Figment is available in two styles, Figment Regular and Figment Force (a wider and bolder style) The font has been professionally letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

Although ITC Styleboy has a retro feel, it isn't based on any earlier typeface. As far as inspiration goes," says designer Chester Wajda, "I'd have to say comic strips of the '20s and '30s, and silent-film marquee lettering from the '20s - with a hint of a Chinese brush?" He originally created the typeface for a children's book he was working on. "I wanted it to be fun, but still somewhat formal in its underlying structure," he says. "It's largely based on right and 45-degree angles, with slight tucks inward on the stems and bowls, and a few flourishes here and there." Styleboy's top-heavy look is most noticeable in the caps, but it's exaggerated too in the "8" and the lowercase "g." Styleboy is Wajda's first typeface design."

KASYFA is a cute display font. Is a work of typographic art that brings playfulness and warmth to every character. With a cute and adorable design, filled with tenderness and playfulness, each letter is an expression of joy and innocence. This display font style brings a friendly feel and is suitable for projects that want a touch of playfulness. With its gentle curves and understated design, this font provides a unique and inviting feel, making it the perfect choice for projects that require a touch of beauty and innocence. From titles in children's books to cute greeting card designs, cute display fonts take a leading role in conveying messages with warmth and happiness. They are not just letters, but a tool to bring a positive and fun feel to any design.

Neon Rounded is a rounded monoline typeface inspired by retro neon light bulbs often used in signage. Neon bulbs were first seen back in 1910 in Paris. They later became popular in 1930s New York, especially on Broadway and the Las Vegas strip. Although Neon Rounded was designed with eye-catching signs in mind, its possible usage is vast. Clothing brands, road signs, logos and advertising. The heavier weights lend themselves to children's books and toys, while the lighter weights provide a more modern, futuristic feel. The typeface contains lower and uppercases in five weights: Light, Regular, Medium, Semi-bold and Bold. There are also alternatives for most letters and all numbers. The glyph set includes all languages covered in Basic Latin, Latin-1 Supplement and Latin Extended-A scripts.

Cake Shop has a lengthy history. Originally designed during the Eighties by Aussie artist David Art Wales, the font was inspired by the awkward but charming hand-lettered signs in a Maltese cake shop near his Sydney home. "These signs were hand-drawn by someone who clearly had no experience but who'd really put their heart and soul into the job. There was a real sincerity to the characters that I wanted to capture." For a brief time during the early Nineties, MTV used Cake Shop for all their on-air interstitials. Since then, it's become a go-to font for everything from children's books to album covers and ice cream branding. In a recent update, Wales added airier spacing to more closely resemble the original signs the font was based on.

Kapelka New is a soft and friendly display face based on the principles of writing with a soft pointed brush. Kapelka is suitable for packaging design, children's books headlines and any other domestic and informal purposes. The typeface was designed by Zakhar Yaschin and released by ParaType in 2015. Inspired by the sweetie paper and soft pointed brush writing Zahar Yaschin designed the first version of Kapelka in 2001. It wasn’t on the shelf all these years and even served some time as a corporate identity of “Domashniy” TV channel. But with the benefit of hindsight the author decided to improve, modernize and extend Kapelka. The result was even better than you would expect. The font became even more soft and gentle and also gained some inward nobility due to more evident calligraphic base.

Nothing is hidden in the simplistic forms and overt aesthetic of Anya Danilova’s Rezak font family. Rezak is not a type family directly from the digital world, but was inspired by the stout presence of cutting letters out of tangible material: paper, stone, and wood. With only a few cuts, the shapes remain dark and simple. With more cuts, the shapes become lighter and more defined, resulting in a dynamic type family not stuck within one specific category. The Black and medium weights began as one approach before separating into display and text categories. The four text weights were created through pendulum swings in design direction that experimented with contrast, angles, tangent redirections, and the amount of anomalies allowed. The text weights are vocal when set larger than ten points and subtle at smaller sizes. The tech-heavy Incised display style came last, employing a surprising range of trigonometric functions to make it behave exactly as desired. Its look can result in something distinctive and emotional or completely over-the-top. Most normal typefaces change only in thickness; Rezak changes in intention, highlighting the relationship between dark and light, presence and absence, what’s removed and what remains. Rezak’s Black and Incised display styles are like a shaft of light in reverse and are perfect in situations of impact: websites, headlines and large text, gaming, call-outs, posters, and packaging. The tone works for something from youthful or craft-oriented to organic and natural products. Try these two in logotypes, complex print layering, branding, and words-as-pattern for greater experimentation. The text styles are bold, energetic, well informed, and round out the family with four weights (Regular, Semibold, Bold, Extrabold) and matching italics for a family grand total of ten. These jaunty styles work well in children’s books, call-outs, movie titles, and subheads for myriad subjects such as architecture, coffee, nature, cooking, and other rough-and-tumble purposes. Rezak’s crunchy letters are meant to expose rough, daring, or dramatic text. A further benefit is that this family is not sequestered within one specific genre or script, so it can be easily interpreted for other scripts, such as its current Latin and extended Cyrillic which supports such neglected languages as Abkhaz, Itelmen, and Koryak. Rezak’s push toward creativity and innovation, with an eye on typography’s rich history, reinforces our foundry’s mission to publish invigorating forms at the highest function and widest applicability.