Stilda embodies fun, quirkiness and authenticity. This enchanting script font will turn any creative idea into a true standout.

Squiggly and branchy describes this artfully jumbled font. You'll find it useful for all of your cute kids stuff.

Sipur Knight is a fun and whimsical paint brushed display font. This font is perfect for many themed designs.

Meraki Display is contemporary display font - expressive, daring and edgy. Perfect for a dose of fun for your project!

Dunley is soft script that fit for various design purposes. Good for display sizes, branding, titles, logo and more.

A handwritten font for simple elegance, with a touch of individuality. Great for fun and cute flyers, blogs, etc.

A fine font for monumental projects. It inspires and perfectly motivates for success and stability. Created from handwritten calligraphy.

Arc Neuvo has a retro, art deco feel and provides a few quirky glyphs to add to the fun.

Hoffelized embodies fun, quirkiness and authenticity. This enchanting handwritten font will turn any creative idea into a true standout.

An animated gothic with just a slight bounce, a nice fun font with many applications from headlines to text.

My Face is a collection of faces. You can find aliens, humans, animals, hybrids... every face you might need!

DoodleBat Teddies is cute and cuddly. These teddie bears will add the fun touch that any creative project needs.

This is a fun, multi-lingual font made for children's publications. Perfect for books, magazines, posters or various gadgets.

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.

Victoria embodies fun, quirkiness and authenticity. This enchanting handwritten font will turn any creative idea into a true standout.

Chiland is a bold fun display typeface with unique style. Excellent for branding, packaging, advertising, logo, poster, print, etc.

DoodleBat Bugs brings fun, creepy crawly bugs inside your home, but don't worry they won't crawl off the page.

Rosse features an irregular baseline, making it the perfect font to give your designs a fun and unique feel!

Here's another fun assortment of vintage cartoons, embellishments, ad cuts and topical illustrations; all contained within Letterpress Cuts JNL.

An offbeat, fun, and frightful serif typeface inspired by the 1969 Rankin Bass animagic classic titled, Mad Monster Party.

Patsy is a quirky sans-serif font inspired by the titling sequence from the 1964 film, "The Patsy", starring Jerry Lewis. Heavyweight, yet fun and full of personality, it was a lettering styles that was so much fun to flesh out and make into a typeface. I've opened up the letter spacing lightly from the original film poster design for better readability at a range of sizes. With an alternating all-caps character set, and offbeat letter weighting, Patsy is fun to typeset with as the font auto-switches between Capitals and Lowercase (alternate capitals) no matter if you type all caps or all lowercase.

Varese Outlined is the perfect font for giving content a retro, dimensional, and playful feel. Use it for headlines or short body text for an optimistic or nostalgic tone. It comes in two variations, outlined and shadow. It has standard uncolored and colored options. Please see the slides to know what each color font is named. This geometric and modular typeface was inspired by Italian posters of the 1920s and 1930s. Its design playfully explores the boundaries between unity and variety. The blocky characteristics lend it well to tightly composed text either horizontally or vertically. The lowercase is similar in form to the uppercase, yet many of the lowercase letters have interior spaces (counterforms). It comes with standard ligatures; ff, fi, fl, ffl and three alternate glyphs for number 1. The color fonts in Varese Outlined are vector-based and in the fully scalable SVG OpenType format. Color fonts are supported by Photoshop 2017, Illustrator and InDesign 2018, and QuarkXPress 2018 (and later versions). Those who do not want a color font should purchase the files simply named “Regular” and “Outlined”. These will not have any color words in the names. Varese Outlined has two siblings; Varese and Varese Soft. The designer suggests pairing Varese Outlined with his ornamental fonts FormPattern or FormPattern Color Two, Three, or Six.

When Hal Taylor saw the 1930 logo for the Stetson Shoe Company of Weymouth, Massachusetts, he didn't run out and buy a pair of loafers. Instead, he seized on this striking example of an Art Deco logotype as the basis for a new typeface design. “I was impressed with the delicate and sophisticated letter forms,” Taylor recalls, “particularly the enlarged cap S -- in any other case it would have seemed unbalanced, but in the context of this logo, it worked perfectly.” All the letters in the original all-caps Stetson Shoe logo were rendered with condensed proportions except the O, which was a perfect circle. While the prominent O added visual interest to the logo, Taylor knew that such a character would limit his typeface to display applications. For versatility's sake, he drew his O for ITC Stepp with the same proportions as the rest of the alphabet. Taylor also gave the logotype's inverted S a more traditional design, but kept the original as an alternate character in the OpenType font. Taylor's toughest challenge during the design process was creating a lowercase. “A good type design tells you what it wants to be,” he says, “and after a little while the Stepp caps began to tell me what the lowercase should look like.” Taylor's lowercase is slightly more conventional than the caps. The jaunty g" and almost upside-down "s" add subtle charm, while the capital letters provide the broader gestures of Stepp's personality. Together, they create a versatile and distinctive typeface design. One of Hal Taylor's first jobs was as a photo-lettering typographer in Philadelphia, setting headlines and creating custom lettering. This was followed by a stint doing finished lettering for John Langdon, whose ambigrams appear in Dan Brown's best-selling novel, Angels & Demons. Today, Taylor works as a graphic designer in the publishing industry, but he still finds time to create an occasional hand-lettered book jacket, and draw handsome typeface designs. ITC Stepp is available in four weights, ranging from Light to Ultra Bold. All four weights have companion italics, and the lightest three weights also offer a suite of small caps."

Bradley Texting: a clear, friendly and easily legible calligraphy font, also suited to electronic devices With Bradley Texting, Richard Bradley has published another calligraphic typeface that recalls the style of Bradley Hand and Bradley Type. In this case, however, Bradley has advanced the style with clearer forms for display on electronic instruments and on other formats. Two other font families paved the way to the newly introduced Bradley Texting. In the mid-1990s, Bradley published Bradley Hand, with its rough contours. Since these coarse forms do not cut a good figure in the larger font sizes, Bradley Type followed, with smooth letters. During the development of Bradley Type, the idea for a further font came about ? one in the style of the two other calligraphic typefaces, but with simpler, easily legible forms and suited to electronic devices like mobile phones or tablets. The letters for Bradley Texting began with a marker on paper. Looking back, Bradley describes one of the biggest challenges as having the calm required to draw the relaxed-looking letters repeatedly while still making them fit the general style.The somewhat narrow and dynamically designed letters have round line ends, like those left by a felt-tipped pen. As a hand-written print font, the individual letters are not connected to one another. Nonetheless, they demonstrate the influence of a written font, such as the extended ends and the flowing transitions. Clear forms with open counters and a large x-height guarantee Bradley Texting good legibility in the smaller font sizes. Bradley Texting is also effective under more challenging conditions, such as on mobile phones, e-book readers or tablets; the fonts friendly and lively character comes through. With Regular, Semibold and Bold, Bradley Texting is adequately equipped for use as a headline or text font in various sizes. The selection of characters covers the Western European languages and German typographers will be happy to note the presence of the upper-case ß. Use the dynamic and clear forms of Bradley Texting anywhere you need a friendly character with a personal accent. Bradley Texting is persuasive in the print realm, in advertisements or on posters, as well as on electronic devices.

Taco is a new Mexican style font family based on our Tavern and Algerian Mesa type designs. When I finished the extra heavier weights for Tavern I decided to play around with a decorated version, the extra bold letters allowed for much more room to work with an inlay pattern. After experimenting with several designs I decided on a Mexican pattern because the original base font is very popular in Mexican restaurant logos and menus plus it's frequently used on Tequila bottle labels. I originally planned three weights for the Taco font family, however, after completing the bold weight I've decided to release it now so you may put it to use while the regular and extra bold are being produced, sorry I can't estimate a release date for the two other weights. To use the fill font layers you'll need an application that allows you to work in layers such as Adobe Creative Suite products. The Taco Fill Uno font may be used as a stand alone font, however, we recommend searching for our Tavern font family where you'll find three different bold weights of this same design. Opentype features aware applications are also needed for accessing the many alternate glyphs in Taco, all the alternates that you love in our Tavern fonts are also available in Taco. While the fill font layers are in registration with one another some applications may throw them out of alignment by changing the spacing. Custom inter letter spacing in Adobe Creative Suite may also throw the fill fonts out of alignment. We recommend doing your custom spacing first then duplicate the type layer and change to the next fill font and color. The inspiration for the Taco name of this font family was from a homemade Taco dinner I made for a guest at my house, after dinner I searched to see if there was a commercial font named Taco. There was no such font named Taco and the rest is history. The old Stephenson Blake Algerian font has come a long way since 1908, and we're not done with it yet. We hope you enjoy our Taco font family, we're looking forward to see it in use.

LTC Italian Old Style is not to be confused with the English Monotype font also called Italian Old Style, which is an earlier design from 1911 based on William Morris’s Golden Type that is based on Nicholas Jenson’s Roman face. Goudy went back to Jenson’s original Roman and other Renaissance Roman faces for his inspiration and the result is what many consider to be the best Renaissance face adapted for modern use. Bruce Rogers was one of the biggest admirers of Italian Old Style and designed the original specimen book for Italian Old Style in 1924 using his trademark ornament arrangement. These ornaments are now contained in the pro versions of the Roman styles—Regular Pro and Light Pro. With most digitizations of old metal typefaces, one source size is often used as reference (as was Goudy’s method for his own cuttings of his Village foundry types) so that all sizes refer to one set of original artwork. The original hot metal fonts made by Lanston Monotype (from Goudy’s drawings) and other manufacturers used two or three masters for different size ranges to have optimal relative weights—smaller type sizes would need proportionally thicker lines to not appear thin and larger sizes would require thinner lines to not appear to bulky. The variations in size ranges can also be affected by the size of the cutter head in making the master patterns. The light weights of LTC Italian Old Style were digitized from larger display sizes (14, 18, 24, 30, 36 pt) and the regular weights were digitized from smaller composition sizes (8,10,12 pt). The fitting for the regular weights is noticeably looser to allow for better setting at small sizes. Very few font revivals take this approach. Italian Old Style, originally designed by Frederic Goudy in 1924, was digitized by Paul Hunt in 2007. In 2013, it has been updated by James Grieshaber and is now offered as a Pro font. The newly expanded Pro font includes all of the original ligatures, plus small caps and expanded language coverage in all 4 Pro styles.

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.

Francesco Canovaro created Bakemono as a way to explore the design space around the duality of fixed/proportional width. He was also interested in the concept of monowidth design, inherent in monospaced typefaces, that can bring flexibility and ease of use also to proportional type - allowing you to change the weight of a word without losing the text alignment. In his research on fixed width type design he mixed the lessons of mechanical typewriter technology with the intuitions of eastern brush calligraphy, which has been dealing with for centuries with fixed space grids. The name of the typeface comes from the Japanese shape-shifter yokais that could change their form freely between human and animal, and aptly describes the metamorphic nature of this wide superfamily coming in proportional, monospace and intermediate subfamilies. With a design mixing the expansion principles of the brush with the sharp technicality of typewriter and system fonts, Bakemono can both excel at text size in its regular widths optimized for legibility as well as owning the page at display size with its uncommon design details. Bakemono reflects its multicultural nature with its extended latin + cyrillic charset, soon to be expanded with Bakemono Arabic (exploring the fascinating world of monospaced arabic script) and Bakemono Kana (our first experiment in cjk scripts). • Suggested uses: born to allow you to change the weight of a word without losing the text alignment, Bakemono can both excel at text size in its regular widths optimised for legibility as well as owning the page at display size with its uncommon design details. Perfect for contemporary branding, web design, packaging and countless other projects; • 21 styles: 7 weights x 3 different styles + 1 variable font; • 839 glyphs in each weight; • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Ordinals, Scientific Inferiors, 7 Stylistic Sets, Subscript, Superscript, Slashed Zero • 217 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük

Almost a half of a millennium after being mistaken for the original 4th century Gothic alphabet and falsely labeled "barbaric" by the European Renaissance, the blackletter alphabet was still flourishing exclusively in early 20th century Germany, not only as an ode to Gutenberg and the country's rich printing history, but also as a continuous evolution, taking on new shapes and textures influenced by almost every other form of alphabet available. Blackletter would continue to go strong in Germany until just before the second World War, when it died a political death at the height of its hybridization. For almost 50 years after the war, blackletter was very rarely used in a prominent manner, but it continued to be seen sparely in a variety of settings, almost as a subliminal reminder of western civilization's first printed letters; on certificates and official documents of all kinds, religious publications, holiday cards and posters, to name a few. In the early 21st century, blackletter type has been appearing sporadically on visible media, but as of late 2005, it is not known how long the renewed interest will last, or even whether or not it will catch on at all. The last few years before World War II were arguably the most fascinating and creative in modern blackletter design. During those years, and as demonstrated with the grid-based Leather font, the geometric sans serif was influencing the blackletter forms, taking them away from their previous Jugendstil (Art Nouveau) hybridizations. Blackhaus is a digitization and elaborate expansion of a typeface called Kursachsen Auszeichnung, designed in 1937 by Peterpaul Weiss for the Schriftguss foundry in Dresden. This is one of very few designs from that time attempting to infuse more Bauhaus than Jugendstil into the Blackletter forms. This is why we used a concatenation of the words blackletter and Bauhaus to name this face. The result of injecting Bauhaus elements into blackletter turned out to be a typeface that is very legible and usable in modern settings, while at the same time harking back to the historical forms of early printing. The original 1937 design was just one typeface of basic letters and numbers. After digitizing and expanding it, we developed a lighter version, then added a few alternates to both weights. The Rough style came as a mechanically-grunged afterthought, due to current user demand for such treatment. Having the flexibility of 2 weights and many alternates of a blackletter typeface is not a very common find in digital fonts. More specifically, having the flexibility of 2 weights and alternates of a 20th century blackletter typeface is almost unheard of in digital fonts. So the Blackhaus family can be quite useful and versatile in an imaginative designer's hands.

Bunky is a fun font with a quirky twist. Bouncy and bold, it packs a punch for a funky headline!

Sidewinder JNL is based on ultra-compressed serif wood type and is perfect for fitting long copy into limited space.

Flow is a relaxed font family that finds a happy balance between work and play. Its a Caps Only Fonts.

Jive Jump JNL is a fun and playful font for any layout where a casual and friendly approach is needed.

Afterthought JNL is a light, bouncy and playful typeface . Perfect for any project that exudes a fun or casual theme.

Turtle Font is a special reptilica Font for all Turtle Fans. It is dedicated to my two little Panther-Turtles

Comic Boys embodies fun, quirkiness and authenticity. This enchanting display font will turn any creative idea into a true standout.

Hello! Introducing "Old story" typeface with funny doodles. All the graphics you can access from the "glyphs" palette. Have fun!