Yuli is my daughter - she was born on February 13th, 2014. I named this font after her, because there are some similarities. Both are bouncy and happy, playful and quirky, funny and happy - and above all: cute and cuddly. Yuli font was loosely based on Bodoni and Spumoni - two typefaces I like a lot. Yuli speaks a lot of languages.

Introducing Marceila, a modern script font with a lot of alternates character and unique flourish. This font is perfect for logotype creation, lettering compositions, wedding invitations, fashion projects, book design cover, magazines typography, cards, packagings, posters, branding and more. Come with OpenType feature with a lot of alternates, its help you to make great lettering. This font is also support multi language.

With its tall, slinky letterforms and perky switchbacks, Ziggity may not be your father's typeface, but don't let that fool you. It's ready and willing to step right up and say what's needed with a unique angle on things. Ready to use as-is or with any variety of angles, outlines or shadows, it will make your message memorable if not downright adorable.

Here is another design by jewelry designer Max Joseph Gradl. Zier is a verb, meaning to decorate, adorn or ornament; zierlich means decorative, elegant, fine, neat. Schrift means type. Zierschrift, therefore, means decorative type. Gradl Zierschriften is a decorative type in the Art Nouveau style, rather than the more ornate Victorian style. Very modern, very young, with an elegant simplicity of form. Maria Makela, in her book The Munich Secession (Princeton 1990) suggests that the frequent use of simple, flowing, organic forms that was so characteristic of Art Nouveau was a reaction against the growing complexity and rapid urbanization that resulted from 19th century industrialization. In keeping with that reaction is the hand-drawn quality that intentionally rejects a mechanistic mathematic precision of line rendering. Gradl Zierschriften preserves that hand-drawn quality. Designed with upper case only, this face was obviously intended for short headlines only and is best set at 18 points or larger. However, I don't think you really get to experience the grace of this design until you get to 36 points or more. In the larger sizes, it is simply stunning. Please note that while most of the uppercase letterforms are repeated in the lower case for convenience, the ‘F’,‘L’ and ‘T’ are rendered a little narrower than in the uppercase to provide for visual variety. The font also includes a generous supply of ligatures for just the right fit ... and just for the fun of using them. Three common ways of inserting a ligature, accented letter or other special character are: 1) Key in “ALT”+“0”+[ascii #]; for example ALT+0233 for the e-acute, 2) From within your application program, go to the INSERT menu and look for something like “Insert Symbol,” (this function is NOT available in all application programs) & 3) Cut & Paste from the CHARACTER MAP display that has been supplied by every generation of Windows Operating System that I can recall (All Programs>Accessories>System Tools). Isn't it amazing what you can do? Don't be afraid to experiment. If you back up your work, you have very little to lose and a lot to gain. Not only do you acquire a new tool, but by the very process you have learned how to continually expand your knowledge and skill base.

Combining classic serifs with curvy features, the Curvesta poster/display font has lots to offer. A real modern classic.

For the creation of this font I was inspired by the old fonts created not one hundred years ago.

This font was originally designed for a chocolate box design project; it does have something of a luxurious quality.

A clean-cut blackface type. As with all highly ornate typefaces, this should not be used in all caps.

Londrina Serif is based on my font Londrina. It's a vernacular typeface with a lot of weights and personality.

A Dry Brush script with lots of bounce and fun. Great for casual uses as well as sophisticated events.

It’s cute, it’s fun, and it’s mighty tasty: it’s Enjoy! A mixed-case font with lots of combination possibilities.

Mun is a experimental script typeface for use on logos, titles, posters, etc. Mun is not intended for text.

Street Tag vol 2 is the second version of Street Tag fonts. Inspired from realistic caligraphy tagging style in many big cities. This style is more bold and readable, perfect for your “street art” designs style. I combined the real graffiti experiences into computer fonts, I think it will be different with other fonts if you can feel it, cause I draw graffiti, tagging and throw ups since I was high school. The real tagging style is never be tidy, but don’t worry, I already adjust the kerning and spacing in the best possible way. You’ll find the better result when you adjust the kerning, and edit baseline manually, especially for the alternates font, if you unfamiliar with these one, you can find many tutorials in youtube, for the example https://www.youtube.com/watch?v=251cTL029M4. what will you get You’ll get some alternates in several alphabet, see that in the font preview, some sample fonts I change the dot in “I” to stars, and I add ‘ into “O”, sometimes we do that in the real walls! You can explore more with this font!

Ocean Beach is a fun, retro, all-caps Nautical Art Deco headline font. It sports geometric letterforms, perfect circles and highly stylized crossbars with waves on several letters—think the beach, flags rippling in the breeze and Fred and Ginger tap-dancing merrily on the deck of a ship! The inspiration for this font are the many whimsical nautical-themed buildings still to be found dotting the landscapes of America, from South Beach in Miami to hidden gems tucked away in industrial areas of southern California. I was fascinated by some of them when I was growing up, and in doing research on Art Deco styles I found many images of these wonderful buildings sporting portholes, streamlined moderne details and even faux rivets. Ocean Beach is created with a 3-stroke detail, and the complexity of the design will be appreciated better in larger sizes of type (36 pts or larger). Use this font for any application that needs a bold, decorative or Art Deco look; great for signage, magazine layout, illustration, posters and packaging.

Our newest release is so Totally Awesome, we haven't even found a good NAME for it yet! It’s the kind of font you'll splash all over your covers and title pages to call out FINAL BATTLES WHEN ALL-NEW ALL-DIFFERENT TITANS CLASH! It’s gonna grab your readers and pull them into your own special house of ideas! The story this font wants to tell you is NOT a what if?, NOT a hoax, not an imaginary story. It didn't come BEFORE ELEPHANTMEN, AFTER ELEPHANTMEN or anywhere inbetween! It’s Uncanny, it’s Amazing, it’s Incredible, Invincible, it’s Mighty, Superlative and Wondrous. It’s ready to Assemble, it’s TOTALLY AWESOME!

Garagin Rock was developed from the studies for the title of a publication called Garagin in 1999. Its use is indicated for the titles on posters and stuff like that, but feel free to dare. Anyway, it really was not made ​​for small sizes and is not a WebFont obviously, but again, feel free to dare. May you notice something odd in the baseline position, this is to keep leading with a defined size. But of course you can change it in any editing program. Being a heavy typeface, use in moderation... or not! Garagin Rock Lite is a version with a limited set of characters.

This font comes from the romance of 20th century tube signs that will likely disappear forever. But let's not be upset — the Neonlife font embodies not only the warmth and comfort of neon signs, but also the energy of a modern style. And welcome to New Neon Life! The font family contains 6 sizes to help you choose the best size for different occasions. Neonlife is a unique solution for cool typography, branding, headings, in short, everything that makes our world unique and special. Although this font is not designed for large amounts of text, all characters are perfectly balanced and can be used like any regular font.

This calligraphic script font is called Late Frost. It's an elegant decorative font with lots of ligatures and multilingual support.

YuleLoveIt or Yule not. What else can be said about holiday toys that are also letters? We just said it.

Usage recommendations: Captions, fliers, packaging, cards, posters, ads, book jackets, manuals, menus, bulletins, magazines, greetings, announcements. Not suitable for MSWord.

The informal style of Frivolous feature lots of flourishes and swirls that give it a charming and spontaneous handwritten quality.

Chesta is playful monoline font for a lot of purposes. Such as branding, packaging, logo, craft, fashion, poster, brochure, etc.

When you hear that name, you likely ask yourself, ‘why?!’ I did too, but the number of requests could not be ignored. Once I finally decided to move forward with it, the only way to solve the offering would be to adhere to the same theme of indulgence, I planned for the same number of optical weights AND Italics. Yeah, italic stencils… ok, why not? It’s not a new concept. One thing to note and a creative liberty I assumed during the design. Lust Stencil would not be just a redaction or removal of stress to produce a quick stencil. To do that, would just be a cheap solution. Strokes had to resolve themselves correctly and/or uniquely to the concept of the stencil format. And, it had to be heftier. For it it to look correctly, it needed about 8% additional mass to the strokes for it to retain the effervescent flow of the curves and the resolute scalloped lachrymals. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine. It would have taken even longer if not for font engineer and designer, Potch Auacherdkul. Thanks Potch.

Dynasty is an extensive and versatile family that exploration and modernisation of the typographic quirks associated with the 'American Gothic' type school (in much the same way as English Grotesque was an exploration of Gill/Johnston idea-space) and adds chamfered elements to dots and tails to emphasise and extend the early machine-made aesthetic. Elegantly clean and readable at headline and small text settings, where (as with all fonts in small sizes) the introduction of tracking will improve legibility.

ITC Tapioca was designed by Eric Stevens. He developed the typeface for a nightclub, yet its simple forms are reminiscent of childhood writing exercises. This effect is enhanced by rough edges, which in large sizes make the characters look as though they were composed of strings of dots...or tapioca. The basic style is printed handwriting, although some forms take cursive handwritten forms. The varying slants and irregular forms of the characters give ITC Tapioca a sense of energy and playfulness.

No prizes for guessing this font family was inspired by the 1950s - the sounds (Buddy, Eddie, Elvis), the styles (polka dots, petticoats and Dior's New Look), and the kitsch, from furry dice above the dashboard to plaster ducks over the mantlepiece! A particular point of reference is the furnishings and fabrics of the Fifties (with their distinctive kidney shapes and angular curves) as showcased in the Festival of Britain 1951. See also my other fun fonts Barrowboy, Calypso and Pier Arcade.

Song style typefaces originated in the age of woodblock printing in Song Dynasty. Being an essential Chinese type style for printing and publishing all since Ming Dynasty. Based on the Kaishu calligraphic script, its structure has evolved, regularised and standardised with thick stems (豎), thin horizontal strokes (橫) and triangular finials. Dots (點), hooks (勾) and downstrokes retained some features of calligraphy, hence an appropriate choice for continuous reading. The typeface is equipped with a variety of stroke weights, all highly legible .

OffBit is a font type derived from Bitmap with various variations from each box. The term bitmap comes from computer programming terminology, which means simply a bit map, a spatially mapped array of bits. Now, together with PowerType, it usually refers to a similar concept of an array of pixels that are mapped spatially and into various shapes such as dots and other models. This font matches the theme of computing, graphic design, posters or other media, all of which can be combined.

Wieldy crafted character Wieldy is a prime quality typeface rooted in the tradition of good craftsmanship, full of character and reach in details. Extended serifs, connected with dots, are just some design features this artisanal font can offer. Wieldy is based on the ahistoric forms developed by Central European Arts and Crafts movement. It is suitable for visual identities, packaging or book headings. The typeface’s x-height is around 72% of its capitals. The font is endowed with details, ligatures and special characters.

Padraig Nua is a font conceptualized and designed by Tony Fahy. It is a European Celtic font, contemporary to many languages, not just of Europe but of the world. It’s origin is influenced by events in Ireland in the 1960s when it was decided that the uncial letterform should not be used further in Irish schools for the Irish language—Gaelic—and that it should be replaced by the Roman letterform—the Cló Romhanach as it was called afterwards. This happened overnight without any apparent discussion. It probably had a lot to do with Ireland joining the EEC, as the EU was called then. It had a massive effect on the Irish language and culture, in that the distinguishing factor that gave the language it’s identity—the half uncial/uncial fonts that were in use in all school, government and society documentation and merchandise—were lost overnight. No one said how or why. It was just done. To this day, all documentation is bi-lingual in government and Gaelic is taught in schools and universities—and decreed so by the European Union—but the presentation for both languages is the Roman letterform. Throughout the world, there are millions of Irish Americans and Irish Canadians, Irish Europeans, Australian Irish, African Irish and many living in the Middle East and Asia—and this new font—Padraig Nua, will appeal to many of them, visually recalling their roots. No one had thought, in those days, of commissioning a design that might update the Gaelic language to a more contemporary appearance that would keep the cultural nature of it intact with a revised and updated font—at one with Europe, the US and the world. Tony Fahy designed Padraig Nua (New Patrick) to address the problem. It keeps an appearance that lends towards the Gaelic language but steers it in the direction of Roman fonts. Some characters reflect letterforms from the Irish/Gaelic manuscripts and uncial fonts.

Hey there, looking for a typeface that screams “I’m spontaneous and creative, but also a little bit messy”? Look no further than Markerfield. This typeface is like the lovechild of a whiteboard and a permanent marker—it’s got that super-satisfying squeaky texture that you can almost feel in your fingers. But wait, there’s more! If your program supports OpenType ligatures (which, let’s be real, it totally should), Markerfield will automatically swap in custom pairings to make it look even more like you just scribbled this message on a whiteboard during a brainstorming session. And let’s not forget about the most important part—the message itself. With Markerfield, your words will have an instant aura of authenticity and urgency. It’s like, “Hey, I may not have spent hours crafting this message, but that’s because I’m a busy person with important things to do!” So if you want to inject some playfulness and spontaneity into your designs (or just make your coworkers think you spent all day brainstorming on the whiteboard), give Markerfield a try. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Samman is a Kufic simple Arabic typeface. It can be used to decorate public signs in streets, airports, hospitals, schools, malls, hotels, mosques, and other public places. My family's surname is "Samman" which stands for the person who sells fat especially the one produced by cows ("Samn" in Arabic). Consequently, "Samman" Typeface was designed for eternizing the memory of my family. The main characteristic of "Samman" Typeface is the leaf-shaped style for some of its Arabic characters such as "Dad", "Sad", "Faa", "Meem" and others. The distinguishing artistic design of its "Haa" character adds a unique feature to this typeface especially when connected with other characters. The shape of the characters' "dot", "dots", and "point" is innovative; a triangle with a semi-circle shape. "Samman" Typeface is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. Its characters' modern Kufic styles give the typeface more distinction when it is used also in posters, greeting cards, covers, exhibitions' signboards and external or internal walls of malls or metro's exits and entrances. It can also be used in titles for Arabic news and advertisements appeared in different Arabic and foreign satellite channels.