LiebeFish is a collection of 172 individually hand-drawn fish. Each has its very own personality; some are happy, some are sad. Some like company, some are bored, most are cute and a few are weird. If you look closely, some fish will surely look like people you know. LiebeFish probably is the most comprehensive collection of hand-drawn fish ever. They look great on almost any greeting card, birthday card or invitation. LiebeFish also serve as a perfect companion to any informal graphic design that needs a personal, handmade touch. If you like this font, have a look at our other cute fonts such as LiebeTweet and LiebeRobots.

I love honey - as a dessert or just as a quick snack. I didn’t really like it as a kid, but I guess that is just a result of people changes taste as time goes. I also love letters and notes - and that I also loved as a kid! And the Honey Burst font is a tribute to people to likes to take notes, and those who likes their letters being legible, but not focusing on height, width and position according to the other letters. I’ve added 7 slightly different versions of each letter, which leaves your text quite random and lovely organic - go ahead and type those notes! :)

Britania Ligatura, a Ligature Addict Display Font Coming to you with 170+ stunning alternate and ligature to create a perfectly fashionable, beautiful, fancy, and elegant design. Features: OpenType support Multilingual support (15 languages) PUA Encoded Super Easy to Use alternates - It's OpenType support but you can easily call alternates character using special combination like A.2 B.2 a.2 b.2 etc. so you don't need special software. For special ligature you can use combination like a.n a.m u.b d.h etc To get results like the preview just type B.4r.ita.ni.2a.2 Liga.tur.a Thanks for checking out my font. I really hope you enjoy using it!

Matthew Carter has been refining his design for Alisal for so long, he says, that when he was asked to complete the design for the Monotype Library, it was almost as if he were doing a historical revival of his own typeface. The illusion even extended to changes in his work process: although he now does all his preliminary and final drawing on screen, the first trial renderings of Alisal were done as pencil renderings. Alisal is best classified as an Italian old style design. Originally created between the late 15th and mid-16th centuries in northern Italy, the true Italian old styles were some of the first roman types. They tend to be the most calligraphic of serifed faces, with the axis of their curved strokes inclined to the left, as if drawn with a flat-tipped pen or brush. These designs offer sturdy, free-flowing and heavily bracketed serifs, short descenders, and a modest contrast in stroke weight. Alisal has nearly all the classic Italian old style character traits, plus a few quirks of its own. It is calligraphic in nature, with more of a pen-drawn quality than faces like Palatino or Goudy Old Style. It is more rough-hewn than either Goudy's Kennerley or Benton's Cloister, and is generally heavier in weight than most of the other Italian old style designs. One place where Alisal makes a clean break with traditional old style designs is in the serifs. While sturdy and clearly reflecting pen-drawn strokes, Alisal's serifs have no bracketing and appear to be straight strokes crossing the main vertical. Like Caslon or Trajanus, Alisal is a handsome design when viewed as a block of copy. Ascenders are tall and elegant, and serve as a counterpoint to the robust strength of the rest of the design. Alisal is available as a small family of roman and bold with a complementary italic for the basic roman weight, providing all that is needed for the majority of text typography. Alisal is not as well-known as some of Carter's other typefaces, but this lovely and long-incubated design was certainly worth the wait.

A type designed in a grid, like on display panels Type is not only printed. There were always and still are a number of forms of type versions which function completely differently. Even very early in the history of script there were attempts to combine a few single elements into the diverse forms of individual characters and also efforts to construct the forms of letters within a geometric grid system. The “instructions” of Albrecht Dürer are probably most well-known. But although designers of past centuries assumed the ideal to basically be an artist’s handwritten script, the idea which developed in the course of mechanization was to “build” characters in a building block system only by stringing together one basic element — the so-called grid type was discovered, represented most commonly today by »pixel types.« But even before computers, there were display systems which presented types with the help of a mechanical grid display, like the display panels in public transportation (bus, train) or at airports and train stations. In a streetcar, I met up with a modern variation of this display which reveals the name of each tram stop as it is approached. This system was based on a customary coarse square grid, but the individual squares were also divided again diagonally in four triangles. In this way it is possible to display slants and to simulate round forms more accurately as with only squares. The displayed characters still aren’t comparable to a decent typeface — on the contrary, the lower case letters are surprisingly ugly — but they form a much more legible type than that of ordinary [quadrate] grid types. DeDisplay from ingoFonts is this kind of type, constructed from tiny triangles which are in turn grouped in small squares. The stem widths are formed by two squares; the height of upper case characters is 10, the x-height 7 squares. DeDisplay is available in three versions: DeDisplay 1 is the complex original with spaces between the triangles, DeDisplay 2 forgoes dividing the triangles and thus appears somewhat darker or “bold,” and DeDisplay 3 is to some extent the “black” and doesn’t even include spaces between the individual squares.

Fantini is the revival and elaborate update of a typeface called Fantan, made in-house and released in 1970 by a minor Chicago film type supplier called Custom Headings International. In the most excellent tradition of seriously-planned American film faces back then, CHI released a full complement of swashes and alternates to the curly art nouveau letters. Fantan didn't fare much among the type scene's big players back then, but it did spread like electricity among the smaller ones, the mom-and-pop type shops. But by the late 1980s, when film type was giving up the ghost, most smaller players in the industry were gone, in some cases along with little original libraries that existed nowhere else and became instant rarities on their way to be forgotten and almost impossible to resurrect for future technologies. Fantini is the fun and curly art nouveau font bridging the softness and psychedelia of the 1960s with the flirtatious flare of the 1970s like no other face does. Elements of psychedelia and funk flare out and intermix crazily to create cool, swirly letters packed with a lot of joy and energy. This is the kind of American art nouveau font that made its comeback in the late 20th century and is now a standard visual in the branding drive of almost every consumer product, from coffee labels to book and music covers to your favorite sugar or thirst-crunching fix. Alongside Fantini's enormous main font come small caps and three extra fonts loaded with swashy alternates and variations on plenty of letters. All available in all popular font formats. Fantini Pro, the OpenType version, packs the whole she-bang in a single font of high versatility for those who have applications that support advanced type technologies. In order to make Fantini a reality, Canada Type received original 2" film specimen from Robert Donona, a Clevelander whose enthusiasm about American film type has never faltered, even decades after the technology itself became obsolete. Keep an eye out for that name. Robert, who was computer-reluctant for the longest time, has now come a long way toward mastering digital type design.

Ugocranis is not your ordinary typeface. Its compact and angular design evokes a sense of strength and durability, reminiscent of the brutalist architecture that dominated the twentieth century. The inspiration for Ugocranis comes from the bold and imposing concrete structures that characterized the brutalist movement. Just like those buildings, Ugocranis makes a statement with its strong letterforms, capturing the raw and unapologetic essence of the era. This typeface is perfect for headlines that demand attention. It commands the viewer’s gaze with its distinct and bold design, making it ideal for projects that require a strong and forceful visual presence. Ugocranis is not afraid to stand out, just like the buildings that inspired it. The beauty of Ugocranis lies in its simplicity. Its uncomplicated design allows it to be versatile, fitting into a variety of different design themes while still maintaining its strong, brutalist influence. Whether it’s used in graphic design, web design, or even in architecture itself, Ugocranis will make a bold and unforgettable statement. In a world where everything seems to be getting more complicated, Ugocranis is a refreshing reminder that sometimes less is more. Its straightforward and unadorned design captures the essence of brutalism, reminding us of a time when architecture was about strength, simplicity, and functionality. 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.

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

Ana is a chromatic typeface consisting of 26 uppercase Latin characters, inspired by arabesque patterns from the nineteenth century. Programmed to enable users to easily create multicolored drop caps and initials, this decorative display typeface features a different ornament for every letterform, which fits perfectly with its glyph shape. This ornament is usually more luxurious on the left side of the letter, while on the right it is scarce, so that the body text can be placed close to the initial. These initials are valuable for use in large sizes, like posters, magazines, packaging design, fairy tales, and so on. The final forms of the initials consist of 5 parts which can be individually colored. There are 5 font files named Ana Layer A, Ana Layer B, and so on. A font user can manually create a multicolored initial with these font files, if there is no possibility to use the Contextual Alternates option. To do that, it is necessary to make 5 layers in the page layout software. Then, the corresponding character should be placed on each layer, so that Ana Layer A is on the lowest layer and Ana Layer E is on the highest one. Note that the glyph shapes are contained in the lower case positions. In contrast, the font file named Ana is programmed, so it is possible to create a multicolored initial with the Contextual Alternates command. There is no need for additional layers, everything happens on a single layer. First, the Contextual Alternates command (usually under OpenType menu) should be disabled. Then, using lower case key, type the desired character 5 times and apply color to them. Select them all and turn on the Contextual Alternates. Also, the font file Ana comes with a set of ‘black’ initials that can be used just like any other non-color typeface. The ornamental versions are contained in the uppercase positions, while the letters without the ornaments are in the lower case. With the font file Ana Monochrome one can only get the monochrome initials. Ornamental letters are contained in the upper case positions, while the letterforms without the ornaments are in the lower case.

PUBLIC SERVICE ANNOUNCEMENT: Price Didone has inspired a full alphabetic font - Mastadoni, so if you're after more than numerals, head over there! Price Didone is a font with a singular purpose: The setting of elegant, stylish price tags. As such it is non-alphabetic, featuring instead numerals, a large array of currency symbols, and a smattering of typographic niceties such as quotes, brackets, pilcrow, daggers and a very curvaceous ampersand. Certain currency symbols that are not independent glyphs (Q, Ft, kr etc.) are included as their constituent letters, some of which also have automatic ligatures for that little something extra. There are currency symbols included which have not (yet) been accepted to unicode, such as the Russian Ruble and Bitcoin symbols. For ease of access, these can be typed using the standard ligatures feature. See features below for the full list. Features: Automatic Fractions - with fractions feature engaged, arbitrary fractions are a doddle. Stylistic Sets: SS01 - an alternate look for 4 SS02 - a double stroked dollar symbol SS03- the # sign becomes a stylish numero Stylistic Alternates - for software that doesn't support stylistic sets, the above three features are grouped into the one SALT feature. Standard Ligatures - certain typed combinations automatically change to different glyphs: B|| = Bitcoin symbol P- = Russian Ruble RM = Malaysian Rimgit symbol Rp = Indonesian Rupiah Rs = Rupees Ft = Hungarian Forint kr = Kroner symbol % off;%off;%ff = Special percent off ligature Discretionary Ligatures - this feature sets decimal prices like $5.95 with the numerals after the period smaller and raised from the baseline, underlined by a nice swoosh. It also shrinks the dollar, sterling, and Euro symbols for a more authentic look. While intended for one sole purpose, Price Didone could nevertheless be quite versatile. Quote marks and typographic symbols can be used for decoration. Everybody loves a nice ampersand and this is one I'm really proud of. Or you might just want some pretty numbers for your house, or sports jersey, or just to stand out a little from the rest of your text. Whatever use you may have in mind, go for it. And do let me know if your currency symbol isn't included, and I'll quickly add it to the glyph set in future versions.

Walter Tiemann’s elegant display font brought to life again and carefully extended with Baltic, Turkish and Central European character sets.

HandsOn font was developed in the late 90s. Font shape looks like manual drawing. Suitable for decoration of children's books.

This font has complete kerning pairs for all languages. Designed for books, leaflets and for outdoor use like a banner.

Bobolha is a funny font good to use in kids stuff, like birthday decorations and this kind of joy things...

Deriva was created taking as inspiration the manuscripts of a homeless person live in the city of São Paulo, Brazil.

Beau Chat is a sweet handwritten font. Use this gorgeous and unique font to bring any DIY project to life!

The 1940s-era hand-lettered title on vintage sheet music for the song hit "Donkey Serenade" had an interpretation of the classic typeface "Broadway" used in a Mexican/Southwest motif with wavy lines cutting through the letters. Adapting Playwright JNL (itself, a hand-lettered interpretation of "Broadway") to this style, the festive design is now a digital typeface called Southwest Serenade JNL.

Adegianty feels equally charming and elegant. It looks stunning on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates.

Dutch type designer Donald Beekman created this display FontFont in 2006. The family has 10 weights, ranging from Light to Ultra and is ideally suited for festive occasions, music and nightlife as well as poster and billboards. FF Softsoul provides advanced typographical support with features such as ligatures, case-sensitive forms, fractions, and super- and subscript characters. It comes with proportional lining figures.

Typeface for posters and signage. An extensive range of opentype features are incorporated:- Small Capitals, Title forms, stylistic alternates, old-style and lining numerals, ‘small capitals’ numerals, ligatures and so forth. A touch of flair an distinction is given to these solid letter forms by the provision of tiny serifs. Why not use Signwriter Standard and make an emphatic statement today!

Sonopa is a classically unclassifiable face, with an array of standard and extended ligatures and alternates, tabular and lining oldstyle figures. In essence, it is a playful, hand-penned script, with elements of rigidity taken from more structured styles. Sonopa contains enough detail to fare well at poster sizes, with an evenness of color that is also suitable for text runs.

Valute is a custom font with variable typeface, but at first glance it looks very mischievous. Very thincontrasting lines are very legible with heavy use of paragraph text. We made Valute with 9 weights that include ligatures and are multilingual. We will make language and feature updates in the future as this is a long-term project that we will be building on.

Moldyen is a Elegant typeface that combines classic elegance with modern functionality. With its clean lines, sophisticated curves, and beautiful letterforms, Moldyen adds a touch of refinement and sophistication to any design project. What sets Moldyen apart is its unique variable design, which allows you to adjust the font’s weight to perfectly match the tone and style of your content.

While viewing a YouTube video of film footage in and around New York in the mid-1930s, one scene showed some people “window shopping” by the storefront office of the French Line, an international steamship service. A screen capture allowed the storefront sign to be recreated as the digital typeface Steamship JNL, which is available in both regular and oblique versions.

Cirkulus is an experimental display face, constructed using combinations of hairline circles and straight lines. The typeface was designed by Michael Neugebauer in 1970. The letters exude a constructivist aura, reminiscent of both the revolutionary 1920s, and the digital experiments of the 1990s. Cirkulus is a unicase alphabet, with a very lightweight appearance, and should be used solely in large display sizes.

Neo Neo is the work of British designer Timothy Donaldson, a type style straight out of a 1950s time capsule. It can be set in all caps or a mixture of capitals and lowercase. The casual, slightly condensed forms with their smooth, soft lines are reminiscent of highway diners and motel ads of the time and convey a bright, inviting mood.

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.

Gista Danes feel equally charming and elegant. It looks lovely on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards, and every other design that needs a handwritten touch. This font is PUA encoded, which means you can easily access all of the glyphs and swashes! It features a varying baseline, smooth lines, gorgeous glyphs, and stunning alternates.

Lovely Autumn is a sweet and friendly handwritten font. Its natural and unique style makes it incredibly fitting to a large pool of designs. The only limit is your imagination! This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates.

Inspired by the logo from “Lollapalooza”. The intention was to design a cheerful, entertaining typeface. Lolapeluza works perfectly for designs for children and youth. 4 variants are also included: -Regular: Basic set -Black: Heavy -line. Lolapeluza can run over or behind a text -Shadow. A Cyrillic alphabet is also included to enhance but the typography is more a set of alternatives.

Ringlovely is an elegant and flowing handwritten font. It is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates. It maintains its classy calligraphic influences while feeling contemporary and fresh. Fall in love with this font and bring your projects to the highest levels!

Centima – a geometric sans serif typeface family, built in six styles. The typeface is intended for use in display sizes, but also is quite legible in text and is well suited for editorial and brand design. Centima is released in OpenType format with support for most European languages and includes some OpenType features – proportional/tabular, lining/oldstyle figures, slashed zero, ligatures, fractions.

Paradisa is an elegant and flowing handwritten font. It is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates. It maintains its classy calligraphic influences while feeling contemporary and fresh. Fall in love with this font and bring your projects to the highest levels!

introducing CUPCAKE PASTRY -quirky script font duo- This font is designed for crafters. It is great for branding, packaging, quotes, t-shirt design, card, banners, and anything of craft projects. Uppercase and lowercase characters match each other. What's included? CUPCAKE PASTRY LINE CUPCAKE PASTRY SOLID Features: Uppercase Lowercase Numeral Multilingual 37 Ligatures PUA encoded I hope you love it. regards, Abo Daniel Studio

Anything Script is a stylish script font that features a varying baseline, smooth line, modern and with a depth love. For those of you who are need a touch of love and modernity for your designs or branding, it can be used for various purposes such as headings, wedding, invitation, signature, logos, branding, t-shirt, letterhead, signage, lable, news, posters, badges etc.

Qadisah feels equally charming and elegant. It looks stunning on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates

A clear and simple sans serif typeface. Straight lines are combined with precision curves to form a functional and versatile font best suited for a wide range of applications. Developed to meet the needs of the professional user, details include 9 weights with italics, 540 characters, 5 variations of numerals, small caps, stylistic alternatives, manually edited kerning and Opentype features.

Dutch type designer Donald Beekman created this display FontFont in 1999. The family has 8 weights, ranging from Regular to Bold in Normal and Expanded (including italics) and is ideally suited for music and nightlife and poster and billboards. FF Tsunami provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures.