Sunday Popice is a delightful display font that brings a dose of cuteness and whimsy to your designs. With its rounded shapes and high contrast, this typeface exudes a unique charm that is perfect for adding a touch of playfulness to any project. Designed with love and attention to detail, Sunday Popice captures the essence of childlike joy and innocence. Each character is carefully crafted with rounded edges, creating a friendly and approachable appearance. The high contrast between thick and thin strokes adds a dynamic and lively quality to the font, making it truly stand out. This font's rounded and soft shapes evoke a sense of warmth and coziness, reminiscent of a Sunday afternoon spent in the company of loved ones. Because of the unique style, for the best readability use this font at large text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Sunday Popice fits in children's books, product packaging, greeting cards, headlines, logos, and any design project that requires a touch of whimsical elegance. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

YAPARI is a font inspired by a street typography located in a Makassar city 2005, this writing is poured into a font and then made several variations of width which are Wide, Extended, and Expanded kind of stretched font then have thickness ranging from Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, Extra Bold, Ultra. This font is suitable for use for design projects that have a bold impression and can also be used for all lines of media as well as formal and informal

With True Mama Cyrillic Greek Typeface Duo, you can recreate old-school lettering tattoo-inspired graphics on the spot! Not only this typeface duo includes one monoline typeface with uppercase and lowercase characters, but also one bold version with only uppercase characters. In fact, the typefaces are so easy to use because they complement each other. Also, this duo is perfect for recreating vintage old-school graphics. Of course, both typefaces support diacritics and an extended set of Latin, Greek, and Cyrillic character set. In addition, both typefaces have a set of 4 vintage illustrated tattoo extras, that you can find in the PUA section of the font.

Flavery is a vintage slab serif font that is perfect for creating a rustic and rugged aesthetic with its hand-drawn slab serif style. This font is ideal for evoking the old-fashioned cowboy era or the classic vintage vibes era and is great for display purposes. Flavery features alternate glyphs and supports multilingual Latin characters to enhance your designs with a touch of old-world charm. Its bold and distinctive style will make your designs stand out and give them a unique character. Whether you're working on a poster, packaging, or branding project, Flavery will add a touch of vintage authenticity to your work.

Cajoun is a bold serif face from German designer Hans-Jürgen Ellenberger. The letters sit visually low on their baseline, in part due to their small x-height. Also, the curved portions of the letterforms have an old-style distribution of weight, which pulls the eye downward. This font has a contemporary feel, however, with crisp edges, and some pointy terminals. The typeface also contains old style figures. Cajoun is recommended for use in larger applications, where the eye can get a change to dance along its wide curves. Cajoun was designed in 2002, and is part of the Take Type 5 collection from Linotype GmbH."

Madigan Text is the text optimized version of the Madigan family. More solid, more robust, it repesents the more stabil version to the more delicate Contane family. Stronger hairlines, solid serifs, and slightly wider proportions make it appropriate for bold headlines, as well as for small text sizes. Madigan supports up to 80 languages and it’s OpenType format allows a wide range of typographic applications. 18 styles offer fine graduation of the weights. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

A classic bold face.

Great bold gothic font

Extra bold display font

a gothic bold typeface

Lots of Fall fun, many Halloween icons... black cat, haunted house, witch hat, ghost, scary masks, pumpkins, bat, BOO! and more. Plus back to school icons... bus, pencil, flashcards, paste, leaves and an apple for the teacher.

You are on the page of the old display version of the TT Squares typeface. In 2020, we released an entirely new, completely redesigned, and significantly expanded version of the typeface called TT Octosquares. In addition to 73 styles, TT Octosquares has 3-axis variable version, stylistic alternates, ligatures, old-style figures and many other useful OpenType features. Before you buy the old display version of the font, we suggest that you pay attention to the new superfamily TT Octosquares and study it in more detail. - Squares created for infographics and statistics. This font has both futuristic and techno attributes. Most popular typefaces formula: Thin, Light, Regular, Bold, Black and Italics. Squares are ideal for short inscriptions and long text blocks. Optimized for the websites, mobile applications, and printing materials.

Inspired by hand-painted signage found in ”Little Haiti” Miami, Florida. Sirena’s quirky curls, dynamic slant, and organic nuances capture the essence of Latino street vernacular.

Art Student JNL is a limited character set font inspired by hand lettering found on the box for a learn-to-draw set from the 1950s.

Nouveau Era JNL was adapted from the title of a hand-lettered advertisement found on the back of a 1920s-1930s piece of vintage sheet music.

Aztek emerged as a custom face for an ethno-music festival, and gradually developed a more robust, geometric base. The original ethno roots can still be seen in some of the alternative caps, and the ease with which Aztek forms decorative elements and borders. There is also an alternative “Tall Caps” set, that goes alongside normal uppercase characters as if they were Small Caps. The font features Latin (extended to support German and Polish) and Сyrillic character sets. Though Aztek is an accidental face designed primarily for display work, it holds well at smaller sizes and can endure high ink gain printing found in letterpress and silk-screen processes.

With the publication of the “Today Sans Now” Elsner+Flake extends its offering of the “Today Sans Serif” type family, developed in 1988 by Volker Küster for Scangraphic, by another cut so that the gradation of the stroke width can now be more finely calibrated. The type complement is available for 72 Latin-based languages as well as Cyrillic. Where available, small caps were integrated, and mathematical symbols as well as fractions were included. In order to make the symbols for text applications in regard to headlines more flexible, the insertions which were formerly added, for technical reasons in order to sharpen the corners, were eliminated, and the optical size adjustments of the vertical and diagonal stem endings (I, v, H, V) to the horizontal bars (z, Z) were scaled back. Already since the end of 1984, Volker Küster experimented with broad sticks of chalk and a broad felt pen in order to develop a new sans serif typeface which, in the interest of easy legibility, would be built on the basic structures and proportions of the Renaissance-Antiqua. Using a normal angle of writing, his experiments lead to the form structure of the characters: a small contrast between bold and light weights, serif-like beginning and end strokes in some of the lower-case characters, and the typical, left-leaning slant of all round lower-case letters and the typical left-leaning axis of all round letter forms. In this way, a rhythmization of a line of type was achieved which created a lively image without being “noisy”. With this concept, Volker Küster has enlarged the Sans Serif by a distinctive, trend-setting form variation.

A handwritten decorative font with brush characteristics This attractive decorative script is found in a pamphlet of script samples from around 1900 which was issued by Otto Maier publishing house in Ravensburg/Germany. The forms and flow of Maier’s Nr. 42 are obviously influenced by Art Nouveau. In the original sample, only the Latin alphabet appears. All other characters, especially the Greek and Cyrillic letters, were modeled on elements of the original. A typeface can first reveal a true "handmade" character when the letter forms do not continually repeat themselves – a completely normal occurrence with handwriting. Thanks to OpenType, some key letters of Maier’s Nr. 42 appear in various alternative forms depending on the combination of letters. For example, the difference is obvious between an e followed by i and an e followed by l. Using this principle, a number of letter combinations are presented with alternative character forms so that overall a very lively impression is created.

A page from the 1931 Vitrolite catalog showing illustrations of store fronts and building exteriors utilizing the material provided a classically Art Deco type example. The business name “Sylvin” did not offer many characters to work with, so completion of the digital type design was simply left to imagination. The end result is Structural Glass JNL, which is available in both regular and oblique versions According to Wikipedia: “Pigmented structural glass, also known generically as structural glass and as vitreous marble, and marketed under the names Carrara glass, Sani Onyx, and Vitrolite, among others, is a high-strength, colored glass. Developed in the United States in 1900, it was widely used around the world in the first half of the 20th century in Art Deco and Streamline Moderne buildings. It also found use as a material for signs, tables, and areas requiring a hygienic surface. Over time, the trademarked name “vitrolite” became a generic term for the glass.”

When traveling in Paris, American designer Frederic W. Goudy did a rubbing of a second century marble inscription he found in the Louvre. After ruminating on these letterforms for several years, he drew a titling typeface in 1918, all around the letters P, R, and E. He called the new face Hadriano" as that name was in the original inscription. Robert Wiebking cut the matrices, and the Continental Typefounders Association released the font. Goudy designed a lowercase at the request of Monotype in 1930, though he didn't really like the idea of adding lowercase to an inscriptional letterform. The lowercase looks much like some of Goudy's other Roman faces. Compugraphic added more weights in the late 1970s, and made the shapes more cohesive. Hadriano has nicely cupped serifs and sturdy, generous body shapes. Distinctive individual letters include the cap A and Q, and the lowercase e, g, and z. Hadriano™ is an excellent choice for impressive headings and vigorous display lines."

Schrödinger's is a remarkable signature font which was made hand-drawn manually using Hitech-C pen, This typeface is very natural-like and make your design stand out! Schrödinger's is perfect for gorgeous logos, cards, quotes, posters, wedding invitations, blog posts, social media, and more! To keep it more natural-like, we provide you hundreds of ligature! Schrödinger's font contains following ligatures: aa ab ac ad ae af ah ak al am an ar as and ant at att all av aw ax ay az bb bl bt cc cd ce ch ck cl cm cn cr cs ct db dd dl dt ea eb ec ed ee ef eh ek el em en er es end ent est et ett ell ev ex ey ez ff fi fl fo gh ght gt he ht ib ic idd ie if ih ik il im in ir is ind int ist it itt ill iv ix iy iz kk la le ll lt mm mt ns nt oa oe of oh oi ok ol om oo or os ond ont ost ot ott oll ov ow ox oy oz pp rr sh sl ss st th the tl tt ub uc ud ue uf uh uk ul um un ur us und unt ut utt ull uv uw ux uy uz wh yy zz nn Not only that, we also include swashes and love swashes for those who interested in valentine stuff! Schrödinger's features: A full set of upper & lowercase characters Numbers & punctuation Multilingual language support PUA Encoded Characters +418 Glyph Up to 163 Ligatures Swashes OpenType Features In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. For more information about accessing alternative, you can see this link: http://adobe.ly/1m1fn4Y

Introducing "Dumper" - Your Original Hand-Drawn 60's Retro Bold Font Step into the bold and vibrant world of "Dumper," a font that seamlessly blends original hand-drawn craftsmanship with the iconic style of the 60's retro era. Ideal for posters, headlines, and vintage-themed branding projects, this font exudes a dynamic energy that adds a bold statement to your designs. Key Features: Original Hand-Drawn Craftsmanship: Each character in "Dumper" is crafted by hand, bringing a unique and authentic touch to your creations. 60's Retro Bold Vibes: Immerse your designs in the bold and lively spirit of the 60's, making "Dumper" a perfect choice for projects seeking a retro aesthetic. Why Choose "Dumper": Craft posters and headlines that command attention with bold and dynamic lettering. Design branding materials that transport your audience back to the vibrant 60's era. Establish a brand presence with a font that effortlessly captures the essence of retro boldness. Download "Dumper" Now and Let Your Designs Boldly Embrace the 60's Retro Vibe!

Introducing Mullingar, our latest submission to the display typeface’s world library. Heavily inspired by the letters that are used in old/classic advertisements and signpainting culture, with a little magic touch of modern twist to keep this family relevant. Mullingar letterforms were built from bold and blocky base, unique serif combinations, clean plus smooth curves, and sharp edges. Available in six styles (Regular, Bold, Light, plus Slanted in each version), that guaranteed to give you joy in designing. Mullingar family is a reminiscent of retro sign painting, featuring a rustic architecture that makes it quite at home in a wide variety of design themes. Its blocky characters are best used in bold signage, headlines, advertising, logo designs, product packaging, merchandise, apparel, posters, album artwork, book covers, titling, etc. This typeface also provides additional versatility through OpenType feature, offering discretionary ligatures, standard ligatures, and stylistic alternates. It extends multilingual support to Basic Latin, Western European, Euro, and Pan African Latin languages for design projects intended for an international audience.

Boge LP is a new font family designed to communicate lucidly in text as well as in headlines and titles. The family consists of Regular, Italic, Bold, Bold Italic & Black. Character sets include a full compliment of multi-language support and fine-tuned kerning to make Boge™ a smart choice for professional quality typography from text to billboard-sized advertising. Regular and Bold styles include designed small caps and old-style numerals accessed as OpenType features. An original serif design, Boge blends traditional aesthetic with contemporary refinement. Its hallmarks are: clarity, readability, geniality, competence. The five related styles provide a strong palette for coloring words, text and ideas with quiet authority. Garrett Boge has been designing type for over 30 years, working with Apple, Microsoft, Adobe, Disney and numerous corporate clients. His background in calligraphy, commercial lettering, graphic design, and typography has been channeled into creating this namesake design. Boge Text joins his other popular faces — Spring, Florens, Bermuda, Spumoni, Longhand, Tomboy, Wendy — under the LetterPerfect Fonts brand, marketed through Monotype and its partners.

Designed for the covers of children’s literature and picture books, this is a freehand-style, rounded gothic typeface that conveys warmth and softness. It has also been sold as a font for use in game software. 児童書や絵本の表紙向けにデザインされた、あたたかさややわらかさを表現したい場面で使われるフリーハンド（手書き風）書体です。ゲームソフトなどに組み込まれるフォントとしての販売実績もあります。右肩上がりのリズミカルなフリーハンドタッチで、ヨコ組タテ組どちらでも読みやすく組むことができます。

Shibui is a Japanese word that expresses a certain aesthetic of simple, subtle and inconspicuous beauty. Shibui - Sans serif font, character structure is simple alphabet style. It has an elegant appearance with rounded folds. It offers the best solutions in your digital projects with this font which is highly readable in the smallest dimensions. With its modern minimalist stance, this font can meet your needs in all modern or classic creative projects. Absolutely perfect for titles, websites, magazines, books, invitations, logos, packaging design, branding and more! Character Ranges: Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, General Punctuation, Currency Symbols, CJK Symbols And Punctuation, Private Use Area (plane 0), Glyph Count: 463 With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Blumenkind is a fresh, bright, humanist script font radiating boundless optimism and friendly enthusiasm. Its strokes are based on the rounded triangle, which lends it a dynamic bounce and a confident human touch. It shines in a wide range of display and editorial applications, but excels in particular in the context of art, creativity, food, social events, and spirituality. Blumenkind is inspired by an instance of metal-strip lettering found on the B�rgermeister Kornmesser Siedlung residential building complex in Berlin from the 1960s. The font name, being German for �flower child�, aims to capture the positive zeitgeist of that time evident in the letters. Blumenkind comes with extensive language support, tight kerning, attractive ligatures, and subtly varied alternate shapes for some of the most commonly doubled letters � and all that in three linear weights and one calligraphic weight. Furthermore, a complementary version of the font (Blumenkind Alternate) is available, in which the overlapping tittles and accent marks of the original are replaced with more traditional free-floating marks. This font is dedicated to the miracle of medical science. Thanks to Georg Seifert, Rainer Scheichelbauer, and Michael Wallner for technical aid.