The dearJoe series of fonts came to life around the year 1999, when I created dearJoe 1, which was a first (and half-assed) attempt to convert my own handwriting into a working font. Being able to type in my own hand had always been a childhood fantasy, and even though I only partly understood the software, a working font was generated and I decided to put it on the internet for people to use in their own personal projects. Which they did: at this moment the dearJoe 1 font has been downloaded millions of times and can be found on Vietnamese riksjas, Tasmanian gyms and chocolate stores on 5th Avenue for instance. The font is not something I am particularly proud of, but it started me of in building what's now the JOEBOB graphics foundry. Inbetween creating other fonts, the dearJoe series has become a theme I revisit every once in a while, trying to create an update on how my handwriting has evolved, along with my abilities in creating fonts that mimic actual handwriting. In the last decade or so I started implementing ligatures and alternate characters, which helped a lot in coming to a result that can almost pass for actual handwriting. The 2019 dearJoe 7 font is the latest addition to this font family. All characters were scanned from handwritten notes, cherrypicking the characters and letter-combinations I liked best. They were written with a Lamy M66 B pen and only minor adjustments were made to the original scans, leaving most little flaws and rough edges as they were for a convincing ball-point on paper result. The font comes with over 150 ligatures, making sure the font has a variated and credible overall look and feel.

When Patricia Lillie was growing up, she thought the coolest thing in the world would be finding her own name listed in a library catalog. The fantasy came true in 1986 when her first children's book was published. Five more followed. The thrill of seeing her work on library shelves hasn't abated, but today, Lillie is just as likely to see one of her typefaces on the cover of a book. She has created several display faces and image fonts. My first typeface designs were based on lettering I'd done while working for a library, doing graphics work for the children's section," she explains. "I currently do a lot of web design, but type is my favorite thing." The Tickles (ITC Tickle and ITC Tickle Too) are Lillie's first ITC typeface releases. "I was playing around with a Sharpie marker one day and liked the way the letters looked," she recalls. "I started redoing the letters from scratch in Fontographer to see what developed, and liked those letters too." ITC Tickle is a bi-form font (with both cap and lowercase letters of the same size) that clearly breaks a typographic rule or two. ITC Tickle Too has the same basic lettershapes, but they've grown clusters of stipples that give a three-dimensional quality to the design. The result is a friendly, offbeat display family that's guaranteed to add a giggle to your work."

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.

Vacui Inspired by the Latin phrase "Horror Vacui", translating to "fear of empty space", the Vacui typeface ironically portrays the meaning from a different perspective. Originally intended to fill an entire surface, this typeface playfully illustrates an alternate reality, embracing space in a new minimal form. The modern aesthetic utilises white space to suggest the shapes and curves of letters that we are familiar with, connecting the dots on a subconscious level while introducing new breathing room to the flow of characters and phrases.

Inspired by her Scandinavian heritage, Andrea Leksen created this modern geometric sans serif reminiscent of Scandinavian design and typography. With its tall x-height and monoweight strokes, Nordeco will be best showcased at large sizes, in headlines and other display uses. It contains 100 alternates with ornamental letters, borders, paragraph separators and seamless wallpapers for your designing pleasure. Designs include stripes, dots, art deco and leopard print. See some of the creative ways Nordeco can be used in this YouTube clip. Check out its cousin, Nordique!

The sheet music for "I Used to be Color Blind" (from the 1938 Fred Astaire-Ginger Rogers movie "Carefree") had its title crafted in ornate Art Deco hand lettering. Keeping the original letter forms, the interior embellishment was simplified to a dot-and-line pattern [eliminating a secondary squiggly line] for a cleaner look. The type design is now digitally available as Performing Arts JNL, in both regular and oblique versions. For those who prefer no ornamentation, there are also regular and oblique versions in solid form.

Urban Grotesk attempts to follow the best of traditions of Grotesk typefaces: rounded arches, slightly thinner connecting strokes and a vertical shadowing axis, where outstrokes are terminated strictly in perpendicular to the stroke direction. The primary characteristics are the connection of the rounded stroke to the stem, a round dot, lower and more thrifty uppercase, and generous numerals. The width proportions of characters is almost unified, the text colour creates a unified grey area on a page. An airy metric aids good legibility in shorter texts.

Meet Tilson, a versatile workhorse family for both texts and headlines based on a geometric and straight-lined design. It will give your apps, websites, logos, posters and so much more a techy and masculine look and feel. However, some friendly rounded details, such as the i-dot, add a rather pleasant personality to this family. With more than 200 languages covered, many opentype features on board, obliques, and weights ranging from Thin to Black, Tilson is a truly versatile companion for your next design project.

Stefan Claudius developed this font while he was sitting in a small chalet in Denmark with a hot wood-oven and nothing but snow outside. Probably the amount of white led him to make it so thin and to have as much space between the lines as possible. If you have that in mind, it looks best in large sizes.

Turn on the mirrored ball, and haul out the gold chains and white suits! This Disco dazzler is a new take on Bass Rainbow, designed by Saul Bass in the 1970s. Hip, hot and heavy, this typeface is ready to get down. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Here's a new take on an old dry-transfer standard from the 70s named Barrio. This unicase version features several handy ligatures not found in the original typeface, which will substitute in OpenType-savvy applications when the lowercase combos are typed. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

An unannotated photocopy tucked inside the leaves of an old lettering book yielded this unusual and exuberant Art Deco face. The caps feature a simple “bubbly” pattern that makes this offering pack a punch, not unlike the German cherry brandy for which it is named. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Blue On Blue is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Blue On Blue has an uppercase alphabet, numbers, and punctuation. For convenience, the uppercase alphabet is repeated under the lowercase keys. Only the portions of the characters that are outlined by the 3D-simulated depth are visible.

I was playing around with an old brush I found in our kitchen: it had fallen under the stove and it had probably been hiding there for quite some time! I dusted it off, got my Chinese ink and set to work. The result is a scary-ish font. Mortal Coil comes with discretionary ligatures for double lower case letter combinations.

Lectores is based on 18th century chronicles of Benedictine monastery manuscript, so it is definitely oldish, rough but elegant. Thanks to many ligatures and alternate characters it is varied handwriting font. Lectores is decorative, it works nice with many occasional papers such as invitations, stationery and quotations. It is perfect not only for oldstyle and antique typography but also for modern designs.

Mahameru is the name of the peak of Mount Semeru, mean "The Great Mountain" in Sanskrit. This font gives a firm and soft character, with the terminal point on straight and curved strokes. The family has 9 weights ranging from Thin to Black and offers a lot of features flexibility that will help you find the best typographic color for your project.

Working as a graphic designer for a long time, I realized importance of alternates. Riveruta is a modern typeface designed especially for those who like to experiment with letters. Lots of alternative letters help in creating logos or names. Create your own unique combination using different options. Suitable for any business, this font is gender neutral and should appeal to most people.

A diverse assortment of woodtype adornments, including bishop’s fingers, vignettes, border elements, flourishes and other what-nots, all thoughtfully redrawn from authentic historical sources, and ready to grace your next project with their vintage charm. Please note: for reason known only to the font gods, the Mac Postscript version of Woody Goodies 2 had to be named More Woody Goodies.

Cuckoo Fast was first seen in 1988 (with Cuckoo and Cuckoo Fat) when I painted on a record shop's window. Since then this hand lettered font has been there and done that. Cuckoo Fast was hand drawn on an angle, not software slanted. It has a character all its own, giving a sense of speed, urgency, or bargains whenever it is applied.

After a long period of wind, rain and cold, summer has finally arrived. It almost felt as if the sunny weather came as a special delivery! Sunshine Delivery is a handmade display font. It comes in a regular, angular version and a rounded one. Need Vietnamese support? Check! Want some Sami? Got it! Feel like a bit of Greek? Dive right in!

A breath of fresh air! Seasalt typeface was designed to emulate natural-looking handwritten notes. Opentype ligatures are included to make the typeface appear more realistic and last but not least, it includes a doodles font - arrows, scribbles and scrawls to help your designs pop! The typeface comes in three different variants to suit the look you are after : Upright, Regular and Slanted.

Cursive Signa Script Variable, quite possibly the first true cursive and signature variable font. It has 90 styles that range between weight, slant and alternates. It can be use in a lot of projects, like logos, end of a statement, pairing with a beautiful sans serif like Aleante, in a title, invites and so on. Designed by Pedro Alexandre Teixeira

Our new font family is modern and exclusive, designed for the most varied uses. With sober and sporty lines, it offers a rounded finish with a lot of sophistication. It ranges from ExtraLight to Black, offering 8 weight options, with regular and italic variations. With 499 glyphs, it can be used in over 90 languages, with a crisp layout and strong contours.

WIP Sugar Baby depicts the handwriting of a young woman with opulent curves that spread juvenile charm and warms the hearts of all of us. The (lower case) characters are joined as it is usual in German speaking countries. Originally designed in 1995 the font has been extended by a lot of new characters such as accented characters, punctuation, symbols and currency symbols.

You can be wild and bold in an elegant way. And serif typeface can be very wide and versatile without losing the characteristic. That’s where the ROAST came from. An elegant serif Display typeface with a lot of special alternate letters in every single letters. Elevate your elegant vibes with pushing the style in edgy way instantly with this font.

The Heat is On! Comicraft's ace lettering artists Richard Starkings and John 'JG' Roshell created this font for Marvel's Fantastic Four title. Now, you don't have to be Johnny Storm to light up, but we would like to remind you that The Human Torch is a comic book character and you are not! Also, smoking is bad for your health.

Green On Green is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Green On Green has an uppercase alphabet, numbers, and punctuation. For convenience, the uppercase alphabet is repeated under the lowercase keys. Only the portions of the characters that are outlined by the 3D-simulated depth are visible.

Bolshy is a stroppy font whose x-height has got ideas above its station, it’s ended up being equal to the cap height. Bolshy doesn’t go completely Bauhaus, and although the boundaries are somewhat blurred, the distinction between upper and lower case just about remains intact. There is something slightly Cyrillic about Bolshy’s bulbous terminals, exotic shapes and condensed curvature.

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.

f-line is a special handwriting monoline font face, with one constant line from glyph to glyph and variable width. It was drawn for the designer’s thesis in 2010 and expanded until 2021 with a lot of open type features. It’s built up with three glyph sets to let the glyphs rotate automatically, and amongst other type features initial forms are available.

Heidenberg is a hand lettering work with retro style. This well designed font was inspired from classic typography designs in 60's to 80's. Heidenberg was packed with a lot of alternates and swashes (please check preview images), it will give you more choices to custom your words with this OpenType features. It also has multilingual support for standard latin characters.

Bit Part JNL is an extra condensed monoline sans serif typeface that's well suited for movie credits, disclaimers and other forms of tight-fit word copy. Inspired by just the numbers "65" on the cover of a 1965 high school yearbook, this retro font will fit a lot of copy into a small area. The typeface is available in regular and oblique versions.

Big Ballpen is a modern, slightly naive handwriting typeface, which has the feel of graffiti with its rough lines. The font lines are basically fat and the thickness is not regular from letter to letter. Some numbers are inspired from Tony Buzan concept of picture-number. For example, the number 2 resembles a swan. Some special characters like €$*#@&{Ç~• are available.

Valkyrie was designed following the idea to have realy strong letters taking a lot of room. This results in a heavy appearance and gives Valkyrie its special look. It is possible to give it an even more uniform look by using the alternate characters. What can a strong font be used for? Valkyrie hopes to break rules. Use its power.

Ultimate Class is an elegant, classy and stylish script typeface. This font also have plenty of beautiful swashes with swirls, 13 - 17 alternate character for lowercase letter. Ultimate Class perfect for signatures, quotes, branding, wedding invite and card, elegant logo, poster, packaging, stationery, website, and many more. It include OpenType feature with a lot of alternates which help you to make great lettering.

Based on Morris Fuller Benton's 1905 oeuvre American Extra Condensed, this titling face packs a lot of information into very little horizontal space. Its champfered corners give the font an industrial feel which remains fresh even after more than a century. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

Introducing Bucky is a simple, minimalist and neat Display font. It can be easily adapted to a very large range of projects, such as advertising, titles, blogs, logos, branding, invitations, business cards and more! So add it to your creative ideas and watch how it makes it stand out! are also used in various languages. you will not be disappointed with the results.

White On White is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. White On White has an uppercase alphabet, numbers, and punctuation. For convenience, the uppercase alphabet is repeated under the lowercase keys. Only the portions of the characters that are outlined by the 3D-simulated depth are visible.