As of my last update, there isn't a specific font named "CNN" officially created or endorsed by Ray Larabie that is widely recognized in the type design industry. Ray Larabie is a prolific Canadian t...
As of my last update in April 2023, the font Blix Black by FBruehl might not be widely recognized or it may not exist under that specific name in publicly available font libraries or known typographi...
As of my last update in April 2023, there isn't a widely recognized or specific font known as "Beautiful ES" by ES Typography directly searchable in mainstream font databases or typography circles. H...
As of my last update in April 2023, the font "Mark" by Mike Font is not a widely recognized typeface in the design community or among the databases and collections of typography I'm familiar with. Ho...
As of my last update in early 2023, the "Bharatic-Font" does not reference a specific, widely recognized typographical design or font family within the extensive array of available fonts worldwide. H...
Green Mountain 3 isn't a font with widespread recognition or detailed public documentation as of my last update in early 2023, so providing an accurate and detailed description poses a bit of a chall...
As of my last update in early 2023, the font Mops, designed by Uwe Borchert, may not be widely recognized in mainstream font inventories or among the popular choices for graphic designers and typogra...
As of my last update in April 2023, there isn't a widely recognized or standardized font specifically known as "Pinocchio." However, let's indulge in a creative exploration and imagine what a font by...
As of my last update, Kelan is not a widely recognized font within mainstream typographic resources or specific font catalogs. However, the world of typography is rich and ever-expanding, with countl...
As of my last update in April 2023, Instrumenta, attributed here to an entity named Yautja, appears to be a fictional font, as there's no widely recognized typeface by that name in contemporary typog...
As of my last update in April 2023, "Ozzy" is not a widely recognized or specifically outlined font within the realms of typography known to me. However, the imaginative nature of font names and the ...
As of my last update in April 2023, "Pointened" by Holitter Studios appears to be a fictional creation or not widely recognized in mainstream font directories and discussions. Given that I cannot dra...
Addict is not a font that I have specific knowledge of, as my database does not contain proprietary or niche fonts that might not have widespread recognition or use by 2023. However, based on its evo...
As of my last update in early 2023, there is no widely recognized or standard font specifically named "CODE3X" within the global design community or within major font repositories such as Google Font...

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.
Pinniepoker, crafted by the creative minds at Fontalicious, embodies a playful and whimsical spirit that instantly adds a dash of joy and creativity to any design project. This font stands out for it...
The font "Ambulance Shotgun" by Last Soundtrack captures the essence of urgency, edginess, and a touch of rebellion. Designed to stand out, it embodies a character that is both powerful and commandin...
Queen Empress is a font that belongs to a category of typefaces crafted by Paul Lloyd Fonts, a foundry known for creating highly detailed and decorative fonts that often draw from historical and Vict...
The Kells SD font, designed by Steve Deffeyes, is a unique and intriguing typeface that finds its inspiration in the historical and ornate scripts of the past. Drawing from the rich heritage of the B...
Imagine a font that captures the essence of the 70s disco era, where the excitement of dance floors, glittering disco balls, and the revolutionary spirit of the time converge into a visual form. That...
Opulent is a font that truly lives up to its namesake, embodying a sense of lavishness and sophistication. At first glance, Opulent may strike one as a blend of classic elegance and contemporary flai...
Magnum, as envisioned by Alexander McCracken, is a font that immediately captures attention through its bold and commanding presence. This typeface is distinguished by its robust and vigorous charact...
As of my last update in early 2023, "Chalkie" seems to evoke images of a font that would capture the essence and whimsy of hand-drawn letters, as though crafted by a seasoned artist using nothing but...
Sure, diving into the essence of a font named "Oneworldonefuture" designed by Dieter Schumacher is like embarking on a journey through artistry and vision. This is not just a mere collection of lette...
Ah, "Silky Smoke" by DM Letter Studio; envision a font that dances on the page like a graceful wisp of smoke from an aristocrat's cigar in a swanky, dimly-lit lounge. It's not just a font; it's a per...
Enlighten, as envisioned by the talented typeface designer Måns Grebäck, is a font that effortlessly combines artistic flair with timeless elegance. This signature creation by Grebäck showcases his a...
Eclipse is not a font that is widely recognized or standardized across design platforms as of my last update in April 2023. However, the naming suggests connotations of creativity, modernity, and per...
KR YoYo is a unique and playful font created by Kat Rakos. Its whimsical design is characterized by exaggerated curves, loops, and twists that seem to dance along the baseline, giving it a lively and...
The "Tiny Tube" font, envisioned and created by Heather Daniel, is a whimsical and engaging typeface that captures the essence of playfulness and creativity. At its core, Tiny Tube embodies a unique ...

Dom Loves Mary has a baby brother! Check out Fratello Nick here: http://www.myfonts.com/fonts/correspondence-ink/fratello-nick/ The DomLovesMary font family has all you need to create unique, custom stationery products. THE INSPIRATION BEHIND THE DOMLOVESMARY FONT FAMILY: DomLovesMary is named in memory of Dominic and Mary Sementelli, Debi’s in-laws. Dom and Mary were opposites who were truly “made for each other”. A snazzy dresser, Mary was feisty, loved to dance, sing, and be the life of the party. Dom was cool, calm and collected and was happy to shine the spotlight on the love of his life. They balanced each other out in a really great way. Going through some of her in-laws old photos, Debi found their wedding album. She was struck by the beautiful look on their faces as they got ready to start their life together. She saw the excitement, joy and anticipation of them envisioning “Una Bella Vita!” (A beautiful life!) She decided to create a hand-lettered font with them in mind represented by two totally different lettering styles that were, like Dom and Mary, “made for each other”. It’s her way of honoring them and sharing their beautiful life with all of the couples just starting theirs together. They truly had “Una Bella Vita” and we hope you do too. WHAT'S UNIQUE ABOUT THE DOMLOVESMARY FONT FAMILY: The SCRIPT & TEXT FONTS are lettering styles that were made to compliment each other. With a vintage, classic feel, they will add elegance to your design, while the TEXT serves to offer support with easy to read simplicity. In addition to the standard character set, each of the uniquely styled script fonts includes a collection of flourished ornaments. Use them to create corners, headers or other embellishments to complete the look. And if you really want to fancy things up, we offer two sets of 72 additional flourishes that were specifically made to add to upper and lower case letters for easy customization. Dress them up with one, two or more. It’s like choosing simple pearls or piling on the glitz! Or combine several to create unique flourished ornaments of your own. To add even more panache, we're pleased to present our ready made set of most frequently used ADD-ON WORDS. Created with the wedding client in mind, this set of 66 includes envelope friendly titles: Mr and Mrs, Mr, Mrs, Miss, Ms, Doctor, the Doctors, as well as words to fill out your invitation suite: RSVP, Respond, Save the Date, Accommodations, Directions and more! Easily create Bride and Groom signs or Thank You cards or tags with the click of a key. Or use angled words like “and, at, to, on, for, from and of” to add a special touch to your large groups of copy. PACKAGES: We are pleased to have a variety of customers. From professional invitation designers to DIY brides, publishing companies and website / blog designers among others. So we've created packages to help fit their diverse needs. Purchase just one of our beautiful DomLovesMary SCRIPT fonts, each with its collection of included flourishes or the PRO VERSION complete with ALL THREE script fonts and a combined total of over 100 flourished ornaments. Add our TEXT font, a set of FLOURISHES or ADD-ON WORDS. Love the idea of customizing your letters with all the possible combinations? We offer a special price when you purchase both sets of flourishes. Or choose our Accoutrements Package containing both sets of FLOURISHES for letter customization as well as our ADD-ON WORDS. Want to have it all? The “DomLovesMary Total Design” package is for you. Each of these packages are offered at a 25% savings. WHAT PROGRAM WILL YOU USE?: All of the font options come in both Pro and Standard format fonts. For those with programs that can take advantage of OpenType features (click on the link to see if the program your using is one of them) the Pro fonts are for you. http://www.typotheque.com/fonts/opentype_feature_support/ For others without the ability to use Open Type features, we provide all of the script fonts that comprise the Pro Version as separate versions (Regular, Contextual and Stylistic). If you are using a program like Microsoft Word, and want all three script fonts, you can still purchase the Pro Version (a $50.00 savings), and install the individual fonts bundled in the Standard Fonts folder. We have set it up so they will appear separately as DomLovesMary, DomLovesMary Contextual and DomLovesMary Stylistic in your fonts list. Exciting news! In an effort to help our customers access all the goodies that are normally only available in Open Type Capable programs (like the flourished ornaments that come with our script fonts), we have found a simple application that allows you to do just that. For this reason, we've made sure to unicode all of our characters and glyphs so that they will work in this type of program. There may be others, but we checked this one out and found that it works. Check out PopChar
Sure, let's dive into the imaginative world of a font named "Whatever." Imagine this font as the epitome of casual chic, the kind of lettering that doesn't fuss over the formalities of typography. It...
The Final Frontier Old Style font, designed by Allen R. Walden, embodies the essence of adventure and exploration, reminiscent of the vast, uncharted expanses of outer space. This font captures the s...
Danube, crafted by the talented Levi Halmos, is a font that refuses to just sit quietly in the corner of your document, sipping tea and discussing the weather. No, Danube is the life of the party, th...
The London font, designed by the talented Jovanny Lemonad, is a distinctive typeface that captures the essence of modernity and elegance. Envision a font that effortlessly combines the historic charm...
Nasalization Free is an intriguing typeface designed by the prolific Canadian type designer Ray Larabie. It belongs to a category of fonts inspired by the mid-20th-century fascination with space expl...
The font GlitzyCurl, envisioned and designed by the talented Robert Schenk, is an epitome of creative flair and whimsicality woven into the realm of typography. This font is a delightful representati...
As of my last update in April 2023, the font "Chicken Butt" designed by Tom Ledin isn't a widely recognized typeface in major font libraries or among the common databases I reference. However, in cre...
TSF et Compagnie Tryout by Match Software is a vivid exploration of typeface design that echoes the intricate balance between tradition and innovation. This font weaves together a captivating aesthet...
The SF Cosmic Age Outline font, designed by ShyFoundry, is an enthralling typeface that commands attention with its distinctive character and futuristic appeal. It encapsulates the essence of space-a...