Ever seen a zombie starfish? No? Well, neither have I. But this font actually comes close! Zombie Starfish, despite its name, is quite a happy cartoon font. It comes in three styles (regular, eroded and dots), plus accompanying italics. Use it for book covers, seafood restaurants or packaging.

Pleasure is the work of German designer Holger Seeling, a condensed open sans serif typeface featuring a shadow behind each character. Its geometric forms are flexible and best used closely spaced. Pleasure reflects no particular time or setting and is therefore ideal for a wide variety of headline applications.

OHIO is a rough headline type in the tradition of Louis Oppenheimer. It is closely related to Lo-Type from Berthold, redesigned in the 1980s by Erik Spiekermann. Matter of fact, I discovered Ohio while visiting Erik in Berlin, searching his endless archive. Your typeface-looter Gert Wiescher

Generica Condensed is based on mid-20th century geometric sans designs, but is less formal, with a touch of playfullness.

Cerafino creates a sense of movement using open, angular strokes on lowercase characters. The capitals and numerals are less exaggerated.

Moho is inspired by the Victorian sans shapes, movements and expressions of modernism art deco and constructivism, conceiving a decorative and elegant font, modern and readable display. This provides a retro look style of elegance of the 30s. Moho Condensed font family is straight, vertical, with joints and links or curvilinear or angular. Moho provides an innovation in the form of letters, to replace traditional forms of curves by straight or vice versa. Condensed Moho is a category of square letter, has an efficient OpenType programming for Moho OT Condensed, and basic for Moho Std families to compose texts in European languages ​​of East and West, having wide set of over 610 glyphs. Designed to hold and typesetting over 14 pts or less increasing readability depending on the tracking. Moho Condensed is ideal for publishing newspaper and magazine design, convenient for the design covers and labels due to its space saving. Moho Condensed typefaces are closely related to the arts and fashion are very useful in creating logos and brands.

Moho is inspired by the Victorian sans shapes, movements and expressions of modernism art deco and constructivism, conceiving a decorative and elegant font, modern and readable display. This provides a retro look style of elegance of the 30s. Moho Condensed font family is straight, vertical, with joints and links or curvilinear or angular. Moho provides an innovation in the form of letters, to replace traditional forms of curves by straight or vice versa. Condensed Moho is a category of inline square letter, has an efficient OpenType programming for all Moho family, and basic for Moho Std Style family to compose texts in European languages ​​of East and West, having im Pro a wide set up to 610 glyphs. Designed to hold and typesetting over 14 pts or less increasing readability depending on the tracking. Moho Condensed is ideal for publishing newspaper and magazine design, convenient for the design covers and labels due to its space saving. Moho Condensed typefaces are closely related to the arts and fashion are very useful in creating logos and brands.

Acuta is a new all-purpose text serif with a good readability and a contemporary, robust look thanks to its low-medium contrast. The differences between thicks and thins are less strongly marked than in oldstyle text faces; yet the diagonal stress needed to facilitate reading is partly provided by the letter shape itself: sharp angles and italic construction give the right dynamism to the text. Acuta becomes very distinctive as a headline, while its big x-height makes it suitable for texts at rather small sizes too. The family consists of seven weights & correspondent italics, with a large character set. The Book and Medium weights, relatively close to each other, can both be used as “plain” weight depending on the size of the text, background color or backlighting. Small caps, oldstyle and tabular figure alternates, superiors and inferiors and ligatures are available in all styles through OpenType features. The real italics include unobtrusive swash alternates to emphasise the written feeling. Please find a specimen of Acuta (PDF) in the Gallery section.

Ni is a kind of typographic love letter, revealed in three distinct, yet close, type formulas. Ni Serif is a contemporary serif typeface with slight diagonal modulation, amazingly legible, and with a very steady rhythm that allows a wonderful performance, especially in long passages of text. Ni Sans closely match the design characteristics and proportions of the serif counterpart. Ni Sans undeniably shows the strong calligraphic influence that comes from Ni Serif, resulting in a very comfortable humanistic typeface, suited both for print and digital environments. Ni Slab is not a simple Sans with serifs attached. Despite the thick and strong serifs, Ni Slab is a gentle mixture of the DNA of the Serif and Sans counterpart and does not intend to reflect any mechanic approach.

Ni is a kind of typographic love letter, revealed in three distinct, yet close, type formulas. Ni Serif is a contemporary serif typeface with slight diagonal modulation, amazingly legible, and with a very steady rhythm that allows a wonderful performance, especially in long passages of text. Ni Sans closely match the design characteristics and proportions of the serif counterpart. Ni Sans undeniably shows the strong calligraphic influence that comes from Ni Serif, resulting in a very comfortable humanistic typeface, suited both for print and digital environments. Ni Slab is not a simple Sans with serifs attached. Despite the thick and strong serifs, Ni Slab is a gentle mixture of the DNA of the Serif and Sans counterpart and does not intend to reflect any mechanic approach.

Ni is a kind of typographic love letter, revealed in three distinct, yet close, type formulas. Ni Serif is a contemporary serif typeface with slight diagonal modulation, amazingly legible, and with a very steady rhythm that allows a wonderful performance, especially in long passages of text. Ni Sans closely match the design characteristics and proportions of the serif counterpart. Ni Sans undeniably shows the strong calligraphic influence that comes from Ni Serif, resulting in a very comfortable humanistic typeface, suited both for print and digital environments. Ni Slab is not a simple Sans with serifs attached. Despite the thick and strong serifs, Ni Slab is a gentle mixture of the DNA of the Serif and Sans counterpart and does not intend to reflect any mechanic approach.

The original Jessen typeface, named in reminiscence of the great supporter of the printing art at the end of the 19th century, Peter Jessen, was designed in the years of 1924 until 1930. Bible Gothic was created by the famous German designer Rudolf Koch. Ralph M. Unger digitized this font exclusively for profonts in 2005, keeping his digitization as close as possible to the original design of Koch in order to preserve the distinguished character and the partly unconventional, original forms. The concept of a Bible Gothic was developing for years in Koch's mind and drove the direction of his work, but only after the experience with his Neuland design could he start the creation of his Peter Jessen typeface. Produced quite like Neuland, Jessen, however, is much more refined and more accurate in detail than Neuland. At first glance, it seems to look plain and simple, but if you look closer, the richness of its distinguished upper case forms unfold to a perfectly clear flow of text

Oswald Cooper is best known for his emblematic Cooper Black™ typeface. Although he was responsible for several other fonts of roman design, Cooper never drew a sans serif typeface. But that didn’t stop George Ryan from creating one. Ryan saw a sans serif example of Cooper’s lettering in an old book and decided that it deserved to be made into a typeface. Ryan’s initial plan was to make a single-weight typeface that closely matched the slender and condensed proportions of the original lettering. While the resulting Oz Handicraft™ typeface proved to be very popular, Ryan was not satisfied with the limited offering. So, between other projects – and over many years – Ryan worked on expanding the design’s range. The completed family includes light, semi bold and bold weights to complement the original design, plus a matching suite of four “wide” designs, which are closer to normal proportions. Fonts of Oz Handicraft include a Pan-European character set that supports most Central European and many Eastern European languages.

Pimpit is a funny rounded font, but above all it is the less athletic and amphetamine-breathing style of Pimpit's family.

Patriot is the sans-serif version of Exocet and, like Exocet, is based upon early Greek and Roman stone-carving, yet it adheres more closely to the shared historical source material. Patriot was developed to include unique forms and alternative characters, becoming a striking original typeface in its own right.

In 1957, Helmut Matheis designed Charme for the Ludwig and Mayer type foundry, located in Frankfurt am Main, Germany. This informal script is of medium weight and has some variation of color. The caps are flowing and the lower case letters are close fitting. Their is a bold companion, called Slogan.

I finally designed this simplified brush style script after years of frustration trying to find a font that can fit a need for short descriptors especially for packaging design. While this script does not replace custom script, it comes close - it even includes the underscore as in the sample type.

Highlight is the work of British lettering designer Tony Watson, an airy, three-dimensional typeface based on a refined brush stroke style. Capitals can be used alone or in combination with the complementing lowercase and letters should be spaced closely. Highlight is ideal when a restrained, informal look is required.

Lexikos was designed by Vince Whitlock and based on the design of the typeface Corinthian. It is a condensed sans serif typestyle with heavier horizontal weights as vertical. Lexikos is best used with close letter and word spacing and is an excellent choice for applications requiring a clean, contemporary look.

Ragtime was designed by Alan Meetks, an all capital condensed sans serif typeface. It features thick/thin weight variances and fine line casing adornment which recalls magazine styles of the 1940s. This typeface should not be letter spaced too closely. Ragtime is excellent for anything requiring an elegant, refined look.

Similar to date and numbering stamps, there once was manufactured rotary band stamps with different letter and number configurations that were used for various identification purposes. From a set of vintage bands acquired from a now-closed rubber stamp shop, Marking Device JNL replicates the serif typeface used on these devices.

Through Brush consists of sophisticated handwriting, elegant, classy and modern. With a little bit of dirty curves it is made from the new trend typefaces now to look as close as possible to the natural brush writing, Through Brush is perfect for adding a modern and classy touch to your project.

Qoronfull is an exuberant industrial display typeface, full of curves that create neat alignments. and it's our second collaboration with Hey Porter! Qoronfull means clove, (a dried flower buds spice tree native to Indonesia), Qoronfull's esthetics, curves, and lines are representing the flowers, leaves, and stems of clove, applied on a strong base of Arabic Kufi calligraphy style, with a big group of type compositions and ligatures.

This is the first of several Eastern fonts I have created and is the prize of the collection. The Pravoslavnie font is highly decorative, with a more complicated letter ‘a’ and a series of flourishes substituting for punctuation. Like its sister font, Pravoslavnie 3 is highly decorative. It differs from the first version of this font, as it has a less decorative ‘a,’ full punctuation marks, and less ornate number forms.

Axplat is the first in a family of grunge, deconstructed, messed-up type faces. It has Euro and almost all the special characters.

This is a revival font of a sixteenth century typeface. I kept this font as close as possible to the original letters, including the imperfections and irregularities, to preserve the look of antiquity. Some of the letters of the original sample were missing and had to be created from the available letters.

Challenge is the work of English designer Martin Wait. The brush lettering gives the typeface a unique, spontaneous quality. Capitals should be set closely and lowercase letters overlapped to produce the look of authentic handwriting. Challenge is at the same time informal and authoritative and good for a variety of display applications.

HOOEY - A fun Y2K - inspired monoline handwritten bubble font in two styles, regular and clean versions! I mixed a bit of texture and a bit of goopy-ness to create a wonderfully imperfect and unique font What's you get? Hooey Regular Hooey Clean Have alternate with all characters (Uppercase & Lowercase) Regular and Clean version Unique letterforms Works on PC & Mac Simple Installations Enjoy your day! Dharmas Studio

The use of pattern is strongly integrated into African art, craft and culture. If you are creating designs which are to have an African look, then the African Pattern Fonts are an essential resource. The patterns vary tremendously -- either gently rounded in shape, or with a stark African angularity they reflect the ethos of Africa. Some of the fonts (African Patterns 01 and 02) have been inspired by the designs of Africa without regard for specific tribes or ethnic borders. They create a strong sense of "African-ness" without a narrow connection to any specific tribe. African Patterns 03 (Zulu and Ndebele) and 04 (Mali), in contrast, have been closely based on traditional patterns that are currently in use by the better known pattern-using African tribes. You can use the fonts as elements in graphic designs (using Adobe Illustrator, Adobe Photoshop, Adobe Freehand or equivalent programs). However, you don't have to be a graphic designer to use these fonts: you can easily make borders and patterns in word processing packages such as Microsoft Word. (See the Gallery Images for instructions). Each African Pattern font contains 52 different pattern units. You can combine these in a myriad of ways giving an almost unlimited number of patterns. You can even overlay one pattern with another, allocating a different color to each layer. Explore your own creativity -- experiment!

Although this font resembles the FontMesa High noon font a closer look reveals much more rounded serifs to this Antique Tuscan font.

A heavy futuristic display font that can be strecthed and squiched without losing its identity.

Highbrow Cafetorium JNL is a very "minimalist" font in the sense that there's only the basic lower case characters and essential punctuation. The lettering is based on a neon-and-bulb wall sign for a long-closed cafeteria on Lincoln Road in Miami Beach, Florida. The 'b', 'd', 'k' and 'l' have unusually high verticals.

Eckhardt Embellishments JNL collects a number of vintage pointing hands, ribbons, panels and embellishments from an early 1900s sign painter's manual and misc. type sources. This font is a continuation of the series named in honor of the late Albert Eckhardt, Jr. - a Miami area sign painter and close friend of type designer Jeff Levine.