Boldoy is here everyone~ an attractive Typeface with agile and energic character See the beefy trunk? it will attract more attention like telling "hug me" ;) Boldoy come up with many decoration in multilanguage When you put it on the boom cover, it will stopping eye from others. The joyful shape impress a cheerful, clingy, gentle, cute, elephant, which super fit for your summer season Big Boy Boldoy also including alternates and ligatures that will make your idea never run out. It was so playful font but also easy to read and applied in various design styles such as traveling snacks, packaging, logos, event poster, animal lovers, cool T-shirts, and many more design projects. So, ready for play? Enjoy your design playground with BOLDOY

Echelon is based upon 1970s Eastern European ‘pipe-style’ typefaces. This style of Communist consumer typography came from what, at the time, seemed like a bizarre mirror universe: Existing alongside the West, similar-but-different, essentially unknowable. Even though the letterforms had the same historical origins as their Western equivalents, they also had their own bizarre fashionable/unfashionable aesthetic. The parallels between the surveillance practices of the Soviet Union and those of today’s Western governments informed the naming of this typeface. Echelon is the codename for a massive international surveillance system that collects and processes data from communications satellites. It can eavesdrop on telecoms and computer systems, it can track bank accounts. It can record and store information on millions of individuals.

As a font designer for films Henning Brehm delivers fonts with a whip-sharp eye for precision. His latest Vette Letters release, VLNL Agitka is a Cyrillic-inspired (and including) alphabet with both feet rooted in Soviet Union-era propaganda posters. Its design is constructivist (look Mom, no curves!) geometric and strong. Like Russian vodka. Aside from the Regular, Light, Bold and Black weights, Agitka comes in four Neon styles as well. For a dazzling design effect, layer those neons over a regular weight for a star struck embossed-letter effect. We would also like to point out the usage of VLNL Agitka in the Bourne Ultimatum movie, for which Brehm designed neon signage for a scene at a Russian supermarket. За здоровье – Za Zdarovje!

The British Telegraph font family was inspired by classic headers of Britain newspapers from the middle of XX century. Classic look with three width – Light, Regular and Bold. Great for headers, signs or logos. Also, working well for text blocks. - The British Telegraph Light: Use it for text blocks, or for gently light header typographic. Try to make more wide tracking with capitals, it looks good. - The British Telegraph Regular: Great for simple message, quotes, subheaders (If the header is Bold) or advert slogans. - The British Telegraph Bold: Is a killing title buddy. Massive, strong, bold and in the same time – very gentle. Perfectly for main words, headers, signs or logo's. The British Telegraph has full glyph set with standard and discretionary ligatures (Open Type Features).

Inspired by the elegance of Herman Zapf’s designs crossed with the readability of early 20th century Gothic fonts by Morris Fuller Benton, 19-PRA is a sans-serif with a visible stroke contrast and a humanist tone of voice. The large x-height seen in fonts like News Gothic and Palatino increases legibility and condensed proportions give excellent readability making it perfect for newspaper and magazine publishing. A typeface that can serve for both body text and titling the uppercase excels for headlines and renders beautiful brand names when tracked out. It sets well with both a serif or sans serif and has various open type features including: 12 standard ligatures, 3 discretionary ligatures, tabular figures, old stye figures as well as European accents.

New Old English was prompted by two Victorian coins, the mid nineteenth century gothic crown and gothic florin, which featured a gothic script lowercase with quite modern looking, short ascenders and descenders enabling it to fit snugly around the queen’s head or heraldic motif. With thicker hairline strokes than normal Old English, a less sharp, warmer feel than lettering scripted with a pen, and circular instead of rhombic punctuation, this font is an attempt to capture the round-cornered softness of the die-struck lowercase blackletter. To increase harmony and homogeneity between the cases, the uppercase is narrower and simpler than is customary, without the excessive width or antiquated flamboyance of the traditional blackletter. It might even allow text set in capitals to look acceptable.

Collager is a Modern Serif Family Font with 2 style Regular And Oblique.It's a very versatile font that works great in large and small sizes. Perfect for branding projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image. Collager variable allows fluid design across 18 weights,The font broadens its use by supplying weights all the way from Thin to Black We pushed the concept into a usability focused direction, to work as a bold tool and beautiful communicator.The natural curves, swells and sloping trunks, grow in character as the font gains weight. Whilst the thinner weights have lowered contrast and optical corrections to create a warm and gentle appearance. Check my other Font here : https://gilarstudio.com/

At home we have a wood stove. Last year, I bought a whole bunch of tree trunks, which I cut up with a chainsaw and then chopped with my Swedish axe. In Holland we have a saying that firewood keeps you warm three times: when you cut the tree, when you chop the wood and when you burn it in the stove. Our stove is rather small, so it is not exactly a blazing furnace, but I liked the name because it seems to fit this font. Blazing Furnace was made with ink and a brush. It is a bit messy and rough, but it comes with multilingual support and a nice set of alternates for the lower case letters.

Years ago, I developed an interest in the Japanese art of dwarfed potted trees, bonsai. I bought some books on the subject from Brooklyn Botanic Garden. In one -- Handbook on Bonsai: Special Techniques (seventh printing, February 1976) -- the type was bad. Old worn lead type, I suspect, spread wide in the tops of characters and disappearing on the bottoms. Two decades later, I came across my Brooklyn Botanic Garden collection and was struck again by this interesting type. Inspired, I made a typeface. Didn't take me long to decide on a name for it, either: a name with a double-meaning, based both on its look and its inspiration. Bonsai, the typeface, has two styles, a roman and a true italic.

Garnet is a rare TT typewriter face, made digital from analog samples gathered with great care by Coniglio Type. A time and place; type and life. Garnet Euro Typewriter is the first new release by designer Joseph V Coniglio in over 5 years. It is contemporary designer type, made from the struck steel hammers of an art deco san serif face transferred from a mechanical 1926 Royal Portable typewriter. It has an obsessively complete commercial roman character set ––for the pre-opentype environment of the late 1990's. Yes, it has that great “Monopoly Game” question mark -- and all on a period-piece typewriter! You should have no trouble grafting that sorely needed Euro symbol.” –And he very well did!

Extraordinary impact and visual conspicuousness. Poipoi is a super 3D sans family for posters, logos and all display. The basic idea is not a brand new. The Stacking type system has been used since before wood type age. As you imagined, colored wood type(woodcut), many other engravings and contemporary printer machine print many colors separately with different printing plates for each color. Poipoi uses the same system for 3d effect. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layer. Poipoi "Standard" style is the base of this font family. You can add effects by stacking Highlight and shadow layers. Stacked layers in different color make the text in 3D. Instruction 1. Type your text as you like. 2. Set font-name "Poipoi" and font-style "Standard" 3. Set color of "Standard" layer. 4. Duplicate the "Standard" layer twice (One for Highlight, one for Shadow). 4'. The layer order should be Highlight, Standard, and Shadow from top to bottom. 5. Set font-style and color of "Highlight" and "Shadow" layers. 6. Adjust tracking if you need. (Please use same tracking value for all 3 layers.) For further detail, https://www.dropbox.com/s/xymis7dh5hwxn9q/Poipoi.pdf Poipoi Standard, Highlighted, and shadowed style can be used solely. Rounded terminals add soft, cute, and casual impressions to your design. Spec: Over 400 glyphs! Basic Latin ✓ Western Europe ✓ Central Europe ✓ South Eastern Europe ✓ Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 ✓ Adobe Latin 3 ✓ Almost all Latins are covered.

Hi! Introducing a vintage typeface set named "Sweet Rum". Thank you & have a great day!

Gulerod is carrot in danish - doctors suggest that you eat at least one every day!

Hello! Presenting a graffiti style font with multilingual support. Thank you & have a great day!

Sincere Valentine is a modern handwritten font made with sincerity and care to produce a font filled with love. Celebrate Valentine’s Day with Sincere Valentine, and make your day full of love with your loved ones! This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

Back in the days when we earned our living with a travelling magic show, we took the shaded font Lithotint, filled it in, modified some characters, and here is the result. In those days, to use the font we had to cut and paste stats of individual letters by hand. You have it easier!

This font was created in honor of my husband for our 12th wedding anniversary. 14 years ago, I met this tall, skinny guy from Indiana in the lobby of a hotel in Hong Kong. We talked. The next day, we had lunch together. And that night we had dinner together. And the next day. And the next. We met just before my 19th birthday, and on my birthday he took me to the top of Victoria Peak, where we looked out over the city of Hong Kong- such a beautiful place to begin a lifetime of love! We spent 4 months together in Hong Kong, falling in love with each other and with the beautiful city we were privileged to call home for that short time. We married the next year. We've lived in Indiana, Texas, China, Kentucky, and Florida over those 12 years of marriage and have welcomed 2 daughters into our lives. I know beyond a shadow of a doubt that he completes my life in a way I didn't know was possible. And I know that I'm blessed beyond words to have a supportive, wonderful, encouraging husband who is also a loving, involved, caring dad to our daughters. This font is for you, Keith!

Schelter & Giesecke's highly esteemed font family, cut by Herbert Thannhaeuser, freshly redesigned for present-day use.

"Amelline" is a modern monoline script font that is very pretty and classy. This font can be used for all your purposes. The embellishments in this font are very easy to use. This font is perfect for spring, summer, holiday, traveling, wedding, invitations, greeting, birthday, mother day, father day, cinco de mayo, logos, branding, banner, poster, print, and others.

Inspired by public fonts in New York in the 1970s. Authority pays tribute to the almost unnoticed but powerful effect type have on our lives. From waiting on a cold morning to catch the 307 to Morton West High School, to the rain and snow worn stencil on a postal box. Public typography is a part of the little spaces in your lives where life actually happens. Government designed fonts were chosen to communicate authority and help grease the gears of the day-to-day grind. Authority beckons back to these days with it's mildly condensed feel, squared corners and weight presence.

An old narrow Grotesque from Stempel’s early days (possibly Information Bold Condensed) revived and revised for photocomposition.

Creative people tend to mix printing and cursive, i.e. some letters connected, some not. Why? Who knows? Handwriting analysts have a field day with this sort of thing. Have a field day of your own with Dempsey, based on the writing of Tucson film teacher, media artist and programmer, Vikki Dempsey. It’s fun, assertive and will make you look even more creative.

Virginia has a proven track-record. Unashamedly geometric, starkly simple with a touch of art deco/bauhaus/rococo about her, she was the most popular headline face around, at least in my home town in the year of her release circa 1970. That was the year my five-weight design won the inaugural (and only) Lettergraphics International Alphabet design competition and shut out 5000 competitors. Alas, Lettergraphics ceased to trade from its LA studios after the mid-80s and Virginia's two-inch film fonts were left to collect dust on the cutting room floor. Until my recent decision to revive her along with some subtle tweaking, a few additional glyphs and Opentype features, supported by an abundance of kern pairs making Virginia suitable for text or the largest display type.

A former lettering artist at Hallmark Cards, Rob Leuschke now has his own thriving design businesses, Alphabytes and the new TypeSETit. Growing up in St Charles, Missouri, where he still lives, Rob showed great artistic promise at an early age. He earned a BFA in graphic design at the University of Missouri at Columbia. After graduation, his stint at Hallmark Cards gave him the opportunity to learn from and work with some of the best lettering artists in the industry. Rob struck out on his own in 1987 and now boasts a long list of clients from all over the world. Rob has created over 250 custom typefaces, and his work has been exhibited in New York. Ambiance BT is Rob’s first typeface published by Bitstream, with more to follow.

Galeana is a flat-sided sans serif typeface that features a closed aperture. The font is a reinterpretation of Latin American-flavored typefaces used for European editorial designs such as Plastique and Zembla magazines. This superfamily consists of 4 sub-families: Compressed, Condensed, Standard and Extended. The heaviest and narrowest variants—created at the early stage of the design process—resemble the slender trunks of the Galenas (African tulip trees). The other variants have an extended width, which evokes the broad crown shape of these trees. Galeana comes in 48 styles and contains 417 glyphs that support over 200 Latin-based languages. The font performs well for mid-length text and it's the perfect choice for headlines, editorial design, brand identity design, advertising, social media and use on Tv.

Nosegrind is a bit of a departure from our usual more traditional font offerings. It's based on skate-culture graffiti gleaned from various samples of similar style found on walls in Austin and online. The font includes two character sets, one which is plain and one which is enhanced with outlines. In normal usage the characters should nest, with slight overlap from one character to the next as shown in the sample to the right, but the lower case characters in the font are spaced evenly but not pre-nested, leaving the degree of overlap up to the user - nesting is easily adjusted with the tracking option in programs like Photoshop, Quark or InDesign. Ultimately Nosegrind will be added to our Modern Fonts collection, where it ought to fit in nicely.

We’re delighted to bring you ‘I’m Fashionista,’ which simply oozes trendiness, style, glamour, and of course high fashion! This is a font that sings out ‘elite’ in the design sense of the word. Its sophisticated sensibility sets it apart from any other font you may have used. If you’ve ever needed to create your own fonts to use on a fashion flyer, you can already appreciate the value of having ready-to-use fonts such as ‘I’m Fashionsita’ in your bag of tricks! Anything to do with fashion and glamour needs to have that touch of delicacy, charm, beauty, and exclusivity to it, and we find the ‘I’m Fashionsita’ a perfect fit for such jobs. ‘I’m Fashionista’ is a must-have for any designer, especially those working with modern and upmarket designs.

When Baka and Baka Too did very well commercially (Baka was named the Best Cursive Rough Script in 2005), I shied away from doing rough, handwritten scripts in fear as being seen as a one-trick-pony. A few years have passed and some early sumi-e brush ‘doodles’ kept appealing to me. I initially thought this new font would just fall under the Baka mantle and just become a new sibling, but as brush hit paper over and over again, the letters took on a different personality from Baka. This new font was turning out to be far more expressive, smooth and rough, tasty but sticky. This dichotomy demanded a new name. The rough and smooth texture suggested the name Fugu—oddly delicate while rough and functional.

Hell Fire is a hybrid of traditional early sign painters block and a hint of urban modern day culture.

Inspired by an old document from the New York and Western Railroad, American West brings the olden days to mind.

Calendar Blocks JNL was inspired by old-fashioned wood type used to assemble calendar pages in the days of letterpress printing. The A-Z keystrokes contain the dates 1-26. The lower case a-z keystrokes have the remaining dates 27-31, along with the split dates 23/30 and 24/31 and blank boxes. The days of the week are located on the 1-7 keys.

If you liked Holiday Doodles you will love Holiday Doodles Too as it is more of the same. 42 icons to decorate your year. Birthdays, babies, Summer, weddings, presents, St. Pat’s Day, 4th of July, Valentine’s Day, Fall, Christmas, Hanukkah and more. This font is a great clip art addition to the Doodles font family from Outside the Line. For best results use in larger point sizes.

Merchantry is a hard-working display font inspired by vintage signage you might find in local supermarkets of days gone by.

Father's Day, or June 17 of this year, is in the middle of Argentinian winter. And like people do on wintery Sunday mornings, I was bundled up in bed with too many covers, pillows and comforters. Feeling good and not thinking about anything in particular, Father's Day was nowhere in the vicinity of my mind. My eleven year old son, Matías, came into the room with a handmade present for me. Up to this point, my Father's Day gift history was nothing unusual. Books, socks, hand-painted wooden spoons, the kind of thing any father would expect from his pre-teen son. So you can understand when I say I was bracing myself to fake excitement at my son's present. But this Father's Day was special. I didn't have to fake excitement. I was in fact excited beyond my own belief. Matí's handmade present was a complete alphabet drawn on an A4 paper. Grungy, childish, and sweeter than a ton of honey. He'd spent days making it, three-dimensioning the letters, wiggle-shadowing them. Incredible. A common annoyance for graphic designers is explaining to people, even those close to them, what they do for a living. You have to somehow make it understandable that you are a visual communicator, not an artist. Part of the problem is the fact that "graphic designer" and "visual communicator" are just not in the dictionary of standard professions out there. If you're a plumber, you can wrap all the duties of your job with 3.5 words: I'm a plumber. If you're a graphic designer, no wrapper, 3.5 or 300 words, will ever cover it. I've spent many hours throughout the years explaining to my own family and friends what I do for a living, but most of them still come back and ask what it is exactly that I do for dough. When you're a type designer, that problem magnifies itself considerably. When someone asks you what you do for a living, you start looking for the nearest exit, but none of the ones you can find is any good. All the one-line descriptions are vague, and every single one of them queues a long, one-sided conversation that usually ends with someone getting too drunk listening, or too tired of talking. Now imagine being a type designer, with a curious eleven year old son. The kid is curious as to why daddy keeps writing huge letters on the computer screen. Let's go play some ball, dad. As soon as I finish working, son. He looks over my shoulder and sees a big twirly H on the screen. To him it looks like a game, like I'm not working. And I have to explain it to him again. This Father's Day, my son gave me the one present that tells me he finally understands what I do for a living. Perhaps he is even comfortable with it, or curious enough about that he wants to try it out himself. Either way, it was the happiest Father's Day I've ever had, and I'm prouder of my son than of everything else I've done in my life. This is Matí's font. I hope you find it useful.

Looking for a royally fun font? A dash of elegance with a dose of quirkiness – not unlike our modern day royal types.