FractalCaps was inspired by the self-similar nature of fractal geometry. It's a strictly decorative font, without accented characters. FractalCaps shines at large point sizes, and would be a good choice for wild and wooly posters.

Designed for a role-playing scenario, this font uses Egyptian hieroglyphs closely relating to characters in the English alphabet as its starting point. It’s fun to use and has many extra hieroglyphs taken from monumental carvings.

Rocktopus is a minimal fat blocky letter font. Each letter is designed for simplicity and maximum style points. Check it out! Rocktopus is extended, containing West European diacritics & ligatures, making it suitable for multilingual environments & publications.

Hand-printed caps font ideal for your graphic project.

Biscuits and Gravy is hand painted sign style font.

Hand drawn, photocopied, scanned, printed and rescanned x 3.

Rockinstead counts 1, 2, 3, 4, 5, 6, 7, 8... Eight variations per letter, plus alternates for numbers and even for punctuation marks! It is equipped with some clever OpenType programming to make substitutions on-the-fly: the Contextual Alternates feature, with the help of a very careful kerning table, takes care of cycling the alternates in an amazing random-like way, impressively mimicking a true handwritten text. The Discretionary Ligatures feature manages the substitution of handy cursive catchwords, adding that charming twist. To put it more bluntly, this font AUTOMATICALLY alters your typing so that it substitutes glyph variations while you do nothing but type away! No need to use PopChar here to do the substitutions manually, the font itself takes care of that for you. This typeface was originally painted on paper, drawing inspiration from Ralph Steadman’s seminal lettering style. On a first glance it may look quite wild - and it proudly is, indeed. But look again: it is stylishly wild, it is strong, unpredictable, full of attitude and good energy. This multifaceted font will certainly strike its way for free-spirited design applications. Just please be warned: it’s seriously addictive!

Milk Drops is a semi-casual-feeling cross between a didone and slab serif display font. Elegant, flourishy, whimsical and bold, as much as one font can be any or all of those things! It has highly contrasting weights, but not so much to take itself too seriously or risk legibility. Playfully, it entertains the teardrop motif wherever it can – in expected areas like the descender of a "y" and the ascender of an "f", but also in some whimsical flourishes. Many of the uses of the teardrop motif are implemented on the terminals and ears where many old prints may have suffered from bleed of ink – answering a "what if" question like "what if those accidental bleeds were designed on purpose?" or "what if a font were designed as though it was already seen through blurry eyes?" Milk Drops also features stencil-like open counters and lots of ligatures (32). Note also, it has some super-nerdy additions like symbols for Bitcoin, Pilcrow, Interrobang and Irony Mark. Language Support Milk Drops is highly versatile – with an impressive count of 470 glyphs, it can accommodate up to 78 latin-based languages.

A slightly regularized digital version of a late Baroque Fraktur type, probably from the beginning of the 18th century, issued by the Norstedts type foundry in Stockholm in 56 point size as "Sju petit fraktur nr 2". This digital font is designed for rather large sizes, at least 30 points. The font includes accented letters for all Western languages, as well as a long s and the usual Fraktur ligatures, e.g. ch, ck, st, tz. The font can be used for logos, packaging, posters, restaurant menus, beer and wine labels etc. associated with traditional German and Scandinavian culture.

Linotype Nowe Ateny is part of the Take Type Library, which features the winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Designed by Dariusz Nowak-Nova, Nowe Ateny is a frantic handwriting font whose capital letters include technical-looking grid lines and end points. These seem to anchor the letters without reducing their volatility. The font consciously lacks elements which increase legibility, sacrificing them for the sake of more design oriented ideals. Nowe Ateny is thus good for headlines in larger point sizes, especially when the look of the text is as important as its content.

Marconi was created by Hermann Zapf in 1973. According to Gerard Unger, it was the world's first digital typeface. Zapf’s design was developed as a text face for books and magazines. The round forms of the Marconi follow the principle of the superellipse. The lowercase letters are enlarged as the result of reading tests, while the capital letters are slightly reduced. The 8-point size — normally used for newspapers — looks more like 9 1/2 points. Marconi is a legible typeface with its large and open lowercase letters. It is ideal for long text blocks in newspaper, book, and magazine production.

In the early days of PostScript fonts, I designed a font of leaves called XLeafMeAlone. In 2006 I decided to revisit this topic and the result was two sets of new leaf fonts: MapleOaks and MoreLeaves. MapleOaks contains almost 100 images of maple, oak, and sycamore leaves, and MoreLeaves has almost 100 images of leaves of various other species. There are four MapleOak fonts. They have identical images; only the orientation of the images is different. In MapleOaksUR the tips of the leaves point to the upper right, in MapleOaksDR the tips point down to the right, etc.

Linotype Laika is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. This fun font was created by Dutch designer Mark van Wageningen, who based its forms on those of a sans serif font but gave them wavy, irregular contours. They look almost as though they lie just under the surface of a pool and the movement of the water gives them their undulating appearance. The dynamic Linotype Laika is especially good for headlines in larger point sizes or shorter texts in point sizes of 14 or larger.

Linotype Beluga is a part of the Take Type Library, winners of Linotype’s International Digital Type Design Contest. The font was designed by Hans-Jürgen Ellenberger to suggest the writing of the Middle Ages but without any specific models from that time. A distinguishing characteristic of the font is its pointed, effusive serifs, which give Beluga its feel of the Middle Ages or of mysticism. In spite of its dynamic character, Beluga is legible even in smaller point sizes, which makes it equally good for headlines as for shorter texts. Beluga combines well with sans serif, slab serif and constructed fonts.

North Bergen is a dirty sans serif based on letterforms seen painted on a wall of a magazine store in North Bergen, New Jersey. Its unrefined, quirky forms reflect a typographic naivete and are meant to evoke a sense of hand painted signage.

Introducing, Roller Cores - a paint roller typeface! Roller Cores is a paint roller inspired font. This font will give you roller and dry brush vibes. Suitable for any project. With unique characters make this font more special! Caps Only Fonts. Happy Creating!

Introducing Invictus hand-painted brush font! With FOUR hand-painted character sets and SWASHES which can be mixed up, lowercase or uppercase. Invictus character are great for logos, name tag, handwritten quotes, product packaging, merchandise, social media, greeting cards and many more.

Endure is a new hand-painted brush font created to add a high detail and realistic feel to any project. Every glyph in Endure was painted by hand on actual paper and scanned in manually - A lengthy process, but worth the fine detail!

Anne's Hand is a custom handwriting font of Anne Hubbard, who tragically lost her battle with anorexia nervosa this past January. Anne loved to write, so her brother Richard designed a custom font of her handwriting as a tribute to her memory. All proceeds from its sale will go to the National Eating Disorders Association to support programs and services like the NEDA Navigators and Loss Support Network, programs that many families count on for support.

Spilled Ink is a handwritten typeface designed to complement illustrations. Inspired by the idea of spilled ink that spreads and fills the shape of letters. Therefore, the symbols do not have sharp corners and looks smooth, soft and cute. Spilled Ink is intended for use in headlines, so lowercase have the same height as uppercase, allowing them to be used as alternates. Make your stories fabulous with Spilled Ink! Scripts: Latin, Greek, Cyrillic, Hebrew Language count: 480+

Delikat is a graceful, finely crafted, slinky, slightly retro, somewhat quirky script font. Perfect for advertising material, clothing tags, restaurant and cafe menus, food labels, music videos, magazine pages, cosmetic branding and so many other uses we lose count! The font contains all upper and lower case characters, punctuation, numerals and mathematical operators, as well as all accented characters used in European languages. Delikat makes use of Opentype features, which enhance the fluidity and legibility of the script.

Typesetter Trinkets JNL adds more classic typographic gems to the Jeff Levine Fonts library. Re-drawn from vintage source material, the font has numerous cartoons, pointing hands, embellishments and stock printer's cuts for a myriad of uses.

A pen stroke Roman with a medium thick to thin contrast and slightly flared stroke endings. Capital was designed for all media and works best at 30 point and above. Capital requires subjective display kerning and compensation.

Here is a sans-serif built up on an old-style design framework especially perceptible in the italic. It is the conjunction of contradictories feelings: pointed / soft, classical / modern. The smaller the typesetting, the better it works.

Another caps-only font for which we have designed a lowercase. It was originally brought out in smaller sizes for card work, but proved to be so popular that sizes up to 48 point were soon added.

Fact is a workhorse open sans serif type system. It is inspired by the great Frutiger typeface. While the Regular style is slightly modernized but still quite close to Frutiger, changing the weight or width makes differences of the design more pronounced. The style range of Fact is wider than of any cognate type family, including weights from Thin to Black and widths from Compressed to Expanded. Fact type system contains 48 upright styles and 48 italics with variations in width and weight. The font was designed by Alexandra Korolkova and Manvel Shmavonyan and released by Paratype in 2018-2019.

Quietism High is an experimental subfamily that received a high contrast from Quietism Display and a high x-height from Quietism Text. It's still a Display typeface, albeit more graceful, wide and open. Other subfamilies: https://www.myfonts.com/collections/quietism-font-michael-rafailyk Scripts: Latin, Greek, Cyrillic. Languages: 480+ The promo images used “Sleeping Venus” painting by Giorgione, “The Creation of Adam” painting by Michelangelo, and “The Piazza and Church of Santa Maria Maggiore” painting by Giovanni Paolo Pannini.

Boomville is a bouncy and upright script font. It is fun and lively with a lot of personality. This script is sketched with quite quick brush strokes with a pointed brush to achieve this casual and playful feeling.

Willoughby JNL by Jeff Levine is a typeface whose lettering was inspired by a 1950s package of toothpaste. Slightly Deco, it also fits well into 1950s-retro projects. This type design is best used at large point sizes.

The bold round point pen lettering on the cover of the 1934 sheet music for “New England in the Rain” was the model and inspiration for Poster Pen JNL, which is available in both regular and oblique versions.

Kasuga, Japanese for spring day, is a contemporary script with eastern influence. Kasuga's pointed and fluid brush strokes evoke the orient with just a hint of the west. Kasuga is perfect for designs that need an Asian atmosphere.

At one time or another, everyone has filled out a job application. Jobseeker JNL emulates a hand-printed alphabet and numerals as one would find on such forms, but it is also useful for any project where a simple handwritten block print is needed.

Authenticity is an authentic signature font. It made with a neat touch making it easy to read. This font is suitable for use as web logos, signatures, invitation, prints, headers, magazines, book covers, t-shirt prints, craft, product brand, business card, logo, and gift card

Rhiccus is inspired from vintage and classic look. This font is suitable for any design like branding, print templates, fashion, print templates, & more. With more than 9 variants, this font works well to mix and match with each other to best fit the occasion.

Display typeface originally created by French graphic designer Marcel Jacno in 1950. Digitised, designed and expanded by Jeremia Adatte with Małgorzata Bartosik from original source material and typeface specimens. THEATRE is inspired by stencil letters found on cargo warehouse wooden crates. "With this unexpectedly-shaped alphabet, I wanted the words to take center stage and create an image in the printed matter" said Mr. Jacno. THEATRE has a second version of each of its letters, painted by hand by Jeremia Adatte and meticulously vectorised and implemented in the font to create words with a hand-made and random effect with no two letters alike, thanks to an opentype feature (enable CALT feature in your favourite design program). Carefully designed ultra detailed letters, for ultra large headlines use without the cheap made-on-a-computer look, but painted-by-hand look, just as it was originally made. THEATRE has more than 50’000 kerning pairs and speaks more than 80 languages. Use THEATRE in your packaging design, like roasted coffee, natural wine or craft beer labels, film or cultural posters and anything you like that needs a unique graphic design voice.

FF Neuwelt™, from Jens Gehlhaar, is open, inviting, highly legible, and strikingly handsome. Combining the straightforward clarity of a geometric sans with a welcoming warmth, FF Neuwelt’s eight display and text weights, vast range of alternates and extended character set, make for a family with few limitations. While grounded in a solid geometric sans serif foundation, Gehlhaar has drawn a large suite of alternate characters that infuses FF Neuwelt with softened, and ultimately easy on the eyes, humanistic shapes and proportions. Alternative cursive italic forms and a choice of round or square punctuation are also available at the click of a mouse. FF Neuwelt is spaced for sizes larger than 16 point, while FF Neuwelt Text has more open letterspacing to set perfectly at sizes smaller than 16 point. In addition, five key lowercase characters were drawn with more legible shapes. The result is that FF Neuwelt adapts from text to larger sizes and one stylistic mien to another with ease and grace. FF Neuwelt is a natural for interactive design, performing well on both large digital displays and small screens. Counters are generous and apertures are open, making them a perfect choice when setting text as microcopy or in short blocks where quick and accurate comprehension is the goal. Even the heaviest weights translate well to on-screen reading. FF Neuwelt also speaks with authority in large sizes on big screens. Equally at home in print environments, FF Neuwelt is a perfect choice for long-form text, captions, editorial, packaging, point-of-purchase design – as well as extensive branding projects. Its many choices of alternative characters make for a design that draws the reader in, without overpowering the message. Although he has drawn typefaces in addition to FF Neuwelt, Gehlhaar is primarily a filmmaker. Directing commercials with style and grace, his work includes spots for Nissan, Apple, Emirates Airlines and Microsoft. As a creative director, Gehlhaar has worked on a broad range of projects for Coca-Cola, MTV, EPSN, Volkswagen and more.

This font was inspired by the paint brushed letters in use in the 60 - 70s for protest slogans tagged on the cities walls. In those days, we didn't commonly use aerosols like today, so we used paint brushes, with paint or tar cans, drew the letters, and ran away quickly ! Capitals and lower case have the same size, and a lot of alternates characters or ligatures allows the user to vary each letter (until tree alternates for single letters) in each word of a text . Likewise, the words may be easily underscored or intersected by a few stains looking like paint spots, substituted to the following standards characters: [greater], [less], [dagger], [backslash], [bullet], and [underscore].

Eisley started as an experiment with creating brushes in illustrator. I began by drawing each letter and tweaking until each one balanced next to one another. I painted over 50 paint brush strokes to give a variety of different looks to the final characters. Strategically crafted to look as real and as spontaneous as a sign painter might paint up (although possibly running a bit dry on paint giving the end result a vintage and grungy effect). Eisley is perfect for use in any design branding that requires vintage or distressed display lettering. Eisley is perfect for use in any design branding that requires vintage or distressed display text. Great fun to use AND personalize with your own flair.

Jugendstil Initials were designed by Heinrich Vogeler around 1905, based on the German blackletter tradition. A similar set of initials by Vogeler, but based on roman letters was released by Rudhardsche Geisserei of Offenbach at about this time. I believe the originals were woodcuts. The backgrounds to the letterforms may be seen as examples of Heimatkunst, an art movement within Germany that drew deliberate inspiration from the rural countryside. Like the Arts and Crafts Movement in England a little earlier, Heimatkunst may be seen, in part, as a romantic rejection of urban industrialization, while at the same time representing a back-to-roots nationalism. Like any river, it was fed by many streams. Jugendstil Initials is an experiment with which I am most pleased. It is far and away the most complex font HiH has produced and I was uncertain whether or not it could be done successfully. To oversimplify, a font is produced by creating outlines of each character, using points along the outline to define the contour. A simple sans-serif letter A with crossbar can be created using as few as 10 points. We decided to make a comparison of the number of points we used to define the uppercase A in various fonts. Cori, Gaiety Girl and Page No 508 all use 12 points. Patent Reclame uses 39 and Publicity Headline uses 43. All the rest of the A’s, except the decorative initials, fall somewhere in between. The initial letters run from 48 points for Schnorr Initials to 255 for Morris Initials Two, with 150 being about average. Then there is a jump to 418 points for Morris Initials One and, finally, to 1626 points for Jugendstil Initials. And this was only after we selectively simplified the designs so our font creation software (Fontographer) could render them. The average was 1678, not including X and Y. There was no X and Y in the original design and we have provided simple stand-ins to fill out the alphabet, without trying to imitate the style of the orginal design. We did a lot of looking to find a compatible lower case. We decided that Morris Gothic from the same period was the best match in color, design and historical context. We felt so strongly about the choice that we decided to produce our Morris Gothic font for the purpose of providing a lower case for Jugendstil Initials. The long s, as well as the ligatures ch and ck are provided. at 181, 123 (leftbrace) and 125 (rightbrace) respectively. This font was a lot of work, but I think it was worth it. I hope you agree.