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!

Quidic is an unusual display typeface. The upper-case letters are strongly vertical, condensed, and bold. Used by themselves, they make headlines and titles that stand out. The lower case letters do not have serifs similar to those on the upper-case letters, but rather have the serif shapes one expects from an italic style. The lower-case is also quite short compared to the upper-case letters. The italic styles of the family are unusual because the lower-case letters keep their shapes and the upper-case letters and numbers change. The family has three styles that differ more by width rather than by weight. Although some Bauhaus fonts have several letter shapes that are similar, there is no other typeface quite like Quidic. The family can be used for many things, but not for text. For a "normalized" version of this typeface, see Qwatick.

Spandau is one of the 12 boroughs of Berlin and, if you add Ballet, a New Romantic British band. It is also a very nice all caps art deco font. Not too soft, not too angular, just about right! Some upper case letters differ from their lower case kin. Comes with all the diacritics you'll need.

Fado is a calligraphic typeface based on the broad nib calligraphy. It has a lot of alternates, ligatures, initial and final forms. The font has 3 sets of length and complexity of ascenders and descenders. It allows the user to chose the style: simple, with more complicated forms, with a lot of flourishes, and even mix all 3 styles.

After Baronessa - funny but not crazy cartoon style font, Baron is an other handmade typeface, warm and friendly but not excessively childish. If Baronessa is a little feminine, Baron is neutral and it's funny and serious at the same time. Baron can tell jokes without smiling. Because a joke can be funny even if the teller doesn't smile.

Dudek is a highly functional font family. Styles from thin to black with italics for each one, allows to create wide and consistent design systems. I wanted Dudek to be soft and simple. Not too much geometrical, but also not calligraphic in detail. Dudek can help in every day jobs and wide multilingual support leaves no one behind.

Health Warning! Coconuts are not that healthy!! I always thought that coconuts were the new quinoa, but apparently they’re not that good for you. They are furry balls of saturated fat, sugar and calories, so don’t go all out with your coconut eating habits! Of course, eating a bit of coconut now and then will not kill you, so enjoy! Coconut Punch is a handmade didone-ish font. Nice and rounded and full of saturated brush strokes. Comes with all the diacritics you need too!

Odditype is a font that surely lives up to its name... Odd, quirky, techno...yet not. Its use is as broad as your imagination.

Retrozoid is the first Open Type font from Pizzadude. It has got loads of different autoligs, just take a look at the preview pic!

This font is not overly distressed, nor is it overly clean. It is a typewriter font. It is perfect when you want a document to look like it was made on a typewriter. This font is primarily based on the typewriter used for a typographic conference document from 1966 in Mainz Germany. The model and age of the typewriter used is not known. Additional characters were sourced from other vintage typewriters and others were designed to complete the full character set.

ITC Beesknees font is the work of David Farey. He credits a number of sources as inspirations for his work, including Pushpin Studio, Peter Max, Bob Zoell and the Marx Brothers, whose typographic titles he admired as much as their cinematic humor. He was going to name the font 'Horse Feathers' or 'Monkey Business' after Marx Brothers films, then the name got shortened to 'Business', which then got transformed to 'Beesknees'. ITC Beesknees font contains a capital and small caps alphabet.

JUST BE is a playful brush script. Perfect for titles, headings and logotypes for blogs, ads, quote prints, home decor, book title, invitation, birthday, custom product, lifestyle imagery (like quotes and stuff). Character set contains Eastern and Western European Latin accented letters. For additional customisations (for logotypes for example) please email me at contact@rolandhuse.com You MAY NOT sell this font or claim them as your own. You MAY NOT edit or rename this font. You MAY NOT redistribute this font. Thank you I hope you like this font & good luck with your project! Roland Instagram: @rolandhusedesign Background images of "Just Be" main poster by Annie Spratt from unsplash https://unsplash.com/@anniespratt "Your best moments in life are ahead" by Helena Hertz https://unsplash.com/@imperiumnordique paper bag mock up by Graphic Burger https://graphicburger.com"

Chunkfeeder was inspired by the many vernacular forms of lettering created for high speed printing and electronic displays found in our modern techie world such as postal packing slips, airline tickets and informational video displays. Many of these type of fonts are designed by engineers and interface designers who presumably do not have a background in letterform design and consequently these glyphs have many quirky idiosyncrasies. In keeping with it's mechanical inspiration, Chunkfeeder is a monospaced font, much like an OCR type font. Chunkfeeder has a rather ridged modularity but it incorporates more typographic nuance into the letterforms than most other fonts of this style, while exploiting some of the visual artefacts of high speed printing. Chunkfeeder is a versatile family of 6 fonts -- 3 weights, each with an accompanying oblique.

Have you been looking for a script font with touch of retro style? Do you dream of creating headings that stand out and inspire creativity, imagination, and endless fun? Then we’ve got just the font for you! Introducing Stay Retro-A Script Font This bubble script font can be used for a host of different content needs and projects. An excellent choice to add the right amount of street vibe and playfulness. Create gorgeous printed quotes, standout packaging, or beautiful t-shirts! You can even use it to create amazing headings, logos, menus, and social media graphics. Stay Retro includes multilingual options to make your branding reach a global audience. Features: Standard Ligatures Stylistic Sets Swashes Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

The final collection in the series of 4 fonts. Each font contains 37 expertly drawn panels. All you have to do is add your own text and color for a quick and easy design. All 37 of these panels are exclusive to Letterhead Fonts. Typing each letter generates a different panel. Special Note: Due to the large file size of these fonts, they will not convert for use in Gerber Omega. Instead, Omega users may wish to use an alternate program to type the characters and import them into Omega as .eps files. CorelDraw users should use the "Weld" command rather than "Convert to Curves" command to convert these fonts to vector outlines. Otherwise, the program may crash due to the sheer number of points in each panel.

Font Etruria is based on a real Etruscan inscriptions and realistic accurately simulates the writing of the Etruscans. The idea of the font Etruria is to give an opportunity for anyone to touch the past of mankind! The character of the Etruscan alphabet involves the creation of a font with only uppercase letters. However, I did not limit this font by that. Etruria has not only a lowercase is different from uppercase, but an additional sets of alternative characters. In General, the main characteristic of Etruscan writing is randomness and diversity of characters. Differs from lowercase to uppercase is only the first step on the road to make randomness effect. Next to the aid of the OT features. To recreate the randomness effect, in Etruria there are several OT features (Contextual Alternates, Stylistic Alternates and Stylistic Sets), which built a script to simulate randomness. Additionally, another script creates the effect of random positioning. Together they create incredibly realistic Etruscan inscription. Thus, any of these features can be disabled at will. I also used a small line spacing, because it is characteristic of the Etruscan writing. Actually the Etruscan writings is a mirror of the writings compared with the current European alphabets. I didn't use this feature all the letters, because this would make the font difficult to perceive, but to make the font characteristic of the Etruscan style, Etruria has a few letters in mirror image. However, if for someone it may seem unusual, mirrored letters can be disabled instead of them will appear more familiar to them. Another feature of Etruscan writing is the use instead of a space dotacentered. Font Etruria has this feature, there is a OT feature Stylistic set ss03. Naturally, it also can optionally be disabled. All these features can be used together, separately, or turn it off. The main goal achieved! The text typed in Etruria, creates full impression of these Etruscan inscriptions.

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

Farm Wave Regular & italic - beauty font design include regular & italic font Image used : All photographs/pictures/logo/vector used in the preview are not included, they are intended for illustration purpose only.

This dotty delight, with its exceptional x-height, is based on handlettering presented in one of Hal Martin’s many Idea Books for Signmen, Artists and Displaymen, published in the 1930s. The ball terminals on several letters in the original alphabet have been enlarged to punctuate the page with dancing dots, suggesting the game which gives this typeface its name. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Diamond Jim JNL was inspired [in part] by an image of a 1970s Letraset® dry transfer typeface made entirely of small stars. By creating his own layout using tiny diamond shapes, Jeff Levine has produced a font that takes on multiple appearances. At 24 point it resembles dot matrix printing; at 48 point the diamonds are clearly visible; and overall, the design has a distinctive 70s retro feel. Limited character set.

Versatile pixel fonts inspired by underground LEDs in Vienna. 4 styles (Pro, Poster, Caption, Mosaique) with different shapes and proportions are bound to one pixel grid to be combined perfectly in 5 pixel shapes: Square, Rounded, Dots, Hatch, Polaris. Pro: strong emphasis, wide proportions, best for legible text. 400+ symbols, greek alphabet. Poster: strong + compressed for large text use. Caption: legibilty for small text use. Mosaique: monospaced tiles with letters and pattern.

Beautiful is a font with a modern calligraphy style and free form, has a curly end, not found in other fonts. Charming and beautiful font - Font feature Uppercase, Lowercase, Numerals & Punctuations, Stylistic alternate(ending), Ss01(beginning), Ligature, Swashes, Multilanguage

Introducing is a fun and playful pouty Baluno font. Font has embodied the graphic trend of cartoon flat illustrations and will successfully complement modern designs. The font has 2 types of faces, which can be used both independently and together by alternating letters in one word to avoid repeating letters, creating a unique heading. Family is ideal for children's themes, because the font resembles inflated balloons. Creates a relaxed mood and has fun. Set comes in many different carefully selected colors and gradient color options. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Baluno Color" on: ld.luxfont@gmail.com Features: Free Demo font to check it works. 2 types of faces. Lots of ready-made matched colors. Gradient color variants. Kerning. IMPORTANT: - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the other fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Naïve Sans is a sans serif handwritten font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. We drew five finely balanced weights to assure a good readability whatever the size, with contrasting upstrokes and downstrokes to add an unusual, fancy touch. We also designed five shaked versions with different lowercases and uppercases, to improve your designs and bring a more organic and playful feeling. Mixed or not, both styles can be used for various purposes, such as headings, logos, posters, wedding invitations... This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all! We hope you will enjoy our work. Merci beaucoup!

Living from 1545 in Lyon, France, the famous punchcutter Robert Granjon created a typeface that looked like his own handwriting. The first book printed with this font, in 1557, was probably Dialogues de la vie et de la mort by Innocent Ringhier. We offer the complete typeface. It is a charming font with historical forms (long s, final s and others) and many ligatures, enriched with accented letters and other characters that did not exist in the original (thorn, eth, lslash and others), and a lot of alternates that permit rich and varying typography. Warning: all characters appear with the 1500s manual blackletter old style, especially letters “e” “r” or “h” alternate and some ending forms, and may be difficult to read at first, but it quickly becomes very easy. The font contains all characters for Baltic, Western European (Including Celtic), Eastern European, Northern European, and Turkish languages.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Spindletop’s ultra-condensed letterforms allow a lot of information to be packed into little horizontal space. Named for a famous East Texas oil field that made a lot of people rich in the early part of the twentieth century. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Grotbox is an interesting, if not startling, distressed punk font. There are two varieties: one with upright characters; the other with the characters rotated out of whack for extra informality. Legibility is maintained, despite the wild industrial feel of the typeface, and it's designed to grab the attention. The zip package contains both OTF and TTF versions - install either OTF or TTF, not both versions of a font on the same machine.

Defect Scam could easily have been a name for a punk band. But it's not - it's the name of my stencil wannabe font. But, it was inspired by a combination of some punkband's LP cover and the vibes of that genre of music - but not overdoing it by making an obvious punk font! Well, you get 4 different versions of each letter in the Regular, Black and Fill versions, as well as multilingual support!

Shelby is friendly and casual; a monoline, semi-connected script typeface based on hand lettering. It has the natural appearance of handwriting, yet can be used to create appealing headlines, logos and eye catching call-outs. Shelby features ligatures, stylistic and contextual alternates, and 20 ornaments designed to complement its handwritten look. See what’s included! http://bit.ly/2bGS9S1 *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

BERO – An elegant sans serif font BERO is clean and modern. This typeface provides a timeless look for any design. Use BERO for branding, magazine design, logo design, headlines, posters, packaging, cards or your wedding invitation. Regular, Bold & Extreme Multilingual support Numerals & Punctuation Recommended to use in Adobe Indesign, Illustrator or Adobe Photoshop. ___ Follow my shop in order to receive notifications for the latest updates including additional glyphs and more languages. Do not hesitate to message me if you want your language included or if you have any requests regarding features or glyphs. I am happy to assist you.

A font drawn in a rounded rectangle looks modern – if we do not mind that it was in vogue mainly in the 80s of the last century and was created in the fifties, when various Italian designers noticed that the outline of a glass TV screen is actually the letter “o“. Since then, this progressive idea has undergone many improvements, which can be summarized in the notion of “popular-scientific typographic revival”. The present incarnation called “Superscience” has the advantage of having extreme variations and nicely simplified letters, as well as the usual repertoire of OTF functions and playful variations.

AndrewAndreas is a simple, clean, sans-serif font family that is highly legible and useful for both text and display purposes. The original three weights were designed in 1994 and three additional weights plus oblique styles were added in 2020. Also added were several OpenType features, including subscripts, superscripts, and fractions. The six oblique styles slant the upright styles but do not change the shape of the letters. However, three OpenType stylistic alternatives provide alternative letter forms for a, f, i, j, and l for five of the obliques and they can be used for a more traditional italics appearance.

Number Five is pure Americana, suitable for titling, display, logo, signage, and editorial work. Its bold and casual down-to-earth lettering evokes the spirit of the 1940s and 1950s in America. Number Five has 433 alternates, including a set of unconnected letters (the default set is all a connected script), and 10 ornaments. See what’s included! Rough • Smooth *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Hand-hewn along the banks of the mighty River Raisin in Southeast Michigan, this heavy block typeface is the perfect addition to any design project in need of a stout, yet fun typographical treatment. Before this font made its journey into the outside world, it began its life as a 4B pencil sketch on cheap inkjet printer paper, as many of my projects do. This typeface, not unlike me, doesn't waste its time with finesse, or convention, and truly doesn't mind being a little bit on the thick side. There is a time for refinement and propriety, but this ain't it.