Rue is an organic, casually ornamental, narrow-faced sans serif. It is a display type structured with random traces of calligraphic tendencies. It does not begin with any noble ideals, other than to mediate between the muse of imagination and the act of realization. The spirited and exploratory design is the materialization of a feeling about fonts as a family of organisms taking on a life of its own, in work and play. Rue is the epitome of vanity and indulgence which seems to purpose itself well in aesthetics, wellness and botanicals. Its whimsical quality also suggests applications in the form of gifts and ornamentation. In retrospect, Rue was conceived as a typeface, used as an image and discovered as an ornament. It comes in 5 weights of light, regular, medium, semibold and bold, and their matching italics. Rue Display was published in 2010 by TypeTogether. http://www.behance.net/gallery/Rue/373854

Sans-serif typefaces compensate for their basic handicap – an absence of serifs – with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs. Why do we love old Garamonds? Beside beautifully modeled details, they possess aspect-ratios of parts within characters that timelessly and beauteously parallel the anatomy of the human body. Proportions of thighs, arms or legs have their universal rules, but cannot be measured by pixels and millimeters. These sometimes produce almost unnoticeable inner tensions, perceptible only very slowly, after a period of living with the type. Serifed typefaces are open to many possibilities in this regard; when a character is mounted on its edges with serifs, what is happening in between is more freely up to the designer. In the case of grotesques, everything is visible; the shape of the letter must exist in absolute nakedness and total simplicity, and must somehow also be spirited and original.

Introducing Chin up! Buttercup! A Perfectly Playful new font pair with a handy doodle font consisting of 40 complimentary Illustrations. Consisting of a Script, a Cute Sans Serif and a handy doodles font, Chin Up Buttercup are perfect companions for designing greeting cards, quotes, typographic designs, wall art, branding, packaging, websites, photos, photo & photography overlays, signs, window art, scrapbooking, tags and so much more. The script has an alternate upper and lowercase character set, as well as a large selection of Standard Ligatures - allowing you to make your design truly unique. Not to be left out , the ‘Cutecaps’ comes with alternate characters in the uppercase set and cute little ligatures as well.

Clauques Family includes four fonts and, in addition, a very useful extra elements. 
Clauques Script and Clauques Script Light are elegant and youthful fonts with many stylistic variations, swashes and ligatures. Clauques Sans and Clauques Sans Light add a little seriousness. Both are designed to be combined but they also work great on their own. Clauques Ornaments has a lot of beautiful ornaments that work very well with the two styles of fonts. With all this, Clauques Family Font will allow you to create elegant works. 
 This family font is the great choice for any project from logos, magazines and book covers, children’s material, fashion, headlines, cards, posters, websites, packaging and, basically, anywhere you want.

Flax Regular lives in a somewhat unusual space... it is not a normal “handwriting” font, nor is it a formal script, or a rounded italic. Flax is a slightly more formal handwriting script that is extremely legible and useful- it can stretch from invitations to packaging, to menus, to brochures to ads. The rough hand-drawn finish gives Flax some of its unique character. This is almost unnoticeable in smaller point sizes while clearly visible in display sizes. While Flax is slightly formal, it has a very friendly presence - mainly from the unpretentious rounded characters and rough finish. Flax is available in Postscript, Truetype and Opentype for Mac and Windows. You will enjoy putting Flax to work!

Sabryne is a beautiful and lovely script font. It has a great readability and will add a fun and lovely touch to any design. Sabryne is versatile and can be used on cards, posters, merchandise, book covers, websites, packaging, and basically anywhere you like. The overall feel of the font is warm, elegant and informal and it is perfect if you want to convey a sense of friendliness and style. The script has 250+ lovely glyphs with lots of stylistic variations, ligatures and swashes, which you can mix and match for a more interesting effect. The dancing baseline makes it very casual and full of personality, thus a great addition to every design project.

Introducing Naishila. This new font family includes a caps and script. Naishila is a lovely and sweet font duo with a dancing baseline. You will receive the regular font (not dancing) while the script comes with stylistic sets and ligatures. Like my other fonts, Naishila is made to meet the growing market of design today. This font is suitable for use in design styles such as watercolor, minimalist, flat, modern design, etc. With this font duo, you can very easily combine. Surely you can make something perfect for your design. Naishila will look gorgeous on cards, mugs, quotes, posters, shopping bags, logo's, t-shirts, branding, book covers, birthday invitations, greeting cards, and all your other lovely projects.

Hexonu is a weird, awkward, monospaced font family. In place of true lower-case letters, it has a second set of capitals that, through the magic of the OpenType contextual alternatives (calt) feature, automatically alternates with the set on the upper-case keys. If one wants to use only one set of letters, the contextual alternatives must be turned off and character spacing adjusted. Hexonu is another effort to create a font with alternating sets of letters (see PoultySign, Lentzers, and Caltic for others). The base shape for forming the letters is a lopsided hexagon that resembles an old coffin. In four of the six family members, the alternating shape is a distorted hour-glass. In the other two, coffin shapes heads-up alternate with coffin shapes heads-down. The family was created as an experiment with the calt feature and not for any particular use. It does not work as text but its bizarreness makes it appropriate for some poster and signage applications.

Friendly is an homage to Morris Fuller Benton's adorable Announcement typeface. It is not a strict interpretation, digital revival or reverent reproduction of the original letterforms… but I would be remiss and shady to not acknowledge the letterforms that inspired this typeface. If you are looking for a more accurate 'scanned revival' I would recommend searching "Announcement" on MyFonts. As stated earlier, it is an homage to the original letterforms of the typeface but takes a great bit of freedom tightening the construction up in order to loosen up the movement of the variant letterforms to allow a great deal of usable personality. I enjoy stating this dichotomy… "loosen up to tighten up the forms" and vice versa. It seems counterintuitive or silly but by allowing the letterforms to normalize, I felt more comfortable going back and adding rather indulgent personality. Infused with stylistic alternates, swashes, titling, many many contextual alternates, 9 stylistic sets and 2 stylistic sets with wordmarks, the typeface became far more 'friendly' for me… how could it not? With so many loops, swashes and typographic indulgences, it was bound to be fun. The more elaborate and 'overdone' Friendly got, the more I wanted to slant it. Here's where my thinking differs from MFB's original. I like slanted romans… especially ones with long ascenders, but I do not like much of a slant. It has to be the lettering person in me. It's hard for me to do a completely upright serif and not pair it with an angle, but I did not feel Announcement's 'Italic' offered much and the actual slant needed to be far less. If it's not an italic, I prefer the letters to slant with an angle equivalent to the thickness of the vertical stroke. The Slanted version of Friendly is set at 3.6 degrees, is quite subtle, and very fitting for me. You will find that most characters have a contextual, stylistic, swash and titling alternate assigned to them and some have an echoed alternate to the swash and titling options if the stylistic alt has been selected in tandem. Additionally, all of these are accessible in the glyph palette directly from the base glyph typed or through selecting options through the Stylistic Sets 1–9. Stylistic Sets 10 & 11 are a little different. They are actually configured as complex majuscule ligatures… a result of me getting carried away. Other features like a default old style numeral set and coordinating glyphs have been produced along with case support, ordinals, and more have been added to make it more relevant for contemporary use.

The Exileon is a Script&Serif Font with a modern style. Soft curves are combined with high contrast glyphs, conveying both feminine and masculine qualities. This font consists of 3 Regular Serif Fonts, Italic Serif and Script, with many unique ligatures provided. Great in layout design for quotes or body copy, best used as a display for headings, logos, branding, magazines, product packaging, and invitations. Mix between Script and Serif to create a unique and very beautiful look, and add italics to complete the sentence you want. What do you get: The Exileon Serif Regular and Italic, Exileon Script, Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works in Microsoft Word. Encoded Characters Fully accessible without additional design software. Fonts include multilingual support. Images used : All photos/images/vectors used in the preview are excluded, for illustration purposes only. Feel free to follow, like and share. thank you very much for checking my store!

Looking for a vintage and bold font to captivate your audience or clients,? If you need to create have a t-shirt branding company, or need to create a new menu - then this is the perfect font for you. Boosters-A Vintage Font Boldy Vintage is a bold, fun, and vintage typeface that is made in uppercase and lowercase. This font is the best to maximize the amount of street vibe and vintage vibes. Ideal to create amazing headings, logos, menus, and social media graphics. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Ligatures Alternates Bonus Oranament PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Nathatype

Transactive JNL is a simple dot matrix font design from Jeff Levine.

Command Blast is not your typical display font - it's bold, it's futuristic, and it packs a serious punch. What sets Command Blast apart is its unique glyph design with thunder alternates, which adds a level of dynamism and excitement to any design project. This font is perfect for anything related to robotics, such as gaming, sci-fi, or futuristic branding. Its edgy and high-tech vibe also makes it an excellent choice for sports cars, garages, and other speed-related themes. Command Blast is not just a font - it's a statement, and with its alternate characters, ligatures, and Latin Multilingual Support, it offers endless creative possibilities for your designs.

Extra bold, extremely black! Siah font comes with 2 weights and provides a modern and clean sans serif Arabic/Persian type experience for headlines and headings! Siah means "Black" in Persian. This font also supports basic Latin. The complete font family is a great choice for all graphic designers, typographers and visual artists. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

Waddle is inspired by the playfulness of mid-century jazz albums, opening title sequences and movie posters. Friendly, rounded, slightly roughed, with a bouncy baseline, this unique typestyle boasts a generous number of glyphs and ligatures across all three weights. Waddle Thin is perfect for body copy and is both fun and elegant. Waddle Plump has been designed for bold headlines and titles. Waddle Regular is an ideal all-rounder. Combine the Waddle Family for maximum affect the next time you need to get a playful and positive message across to an audience of any age. Not too kiddy, not too serious ... just right.

Freehouse is a reinterpretation of the well-remembered Watney’s logo, a brewery and pub chain infamous for its poor quality beer and brutalist decor. In Design Research Unit’s corporate guidelines from 1966 the font is described as Clarendon Bold Expanded — however, this is not the case. Clarendon has square serifs, whereas the Watney’s font is rounder and friendlier. A fixture of the British high street landscape for decades, this digitisation adds a full international character set, numbers, punctuation and many other characters that did not exist in the original. A distressed version that evokes rough print on a wet beermat has also been developed.

Hodgepodge is a confused mixture of letters that somehow work together. While I know this has been done before I create fonts that I need. And I occasionally have found a need for this. And it was not there, so now it is. There is a mixture of light and dark, bold and regular, caps and lower case but not where you would expect them to be. Since this is a headline font you can set the headline and then easily go back and change a letter here or there to get the best-looking combination. Hodgepodge was in the 2011 Typodarium Page-A-Day Calendar on 7-17-2011.

ABTS Crestwing is a unique initial font with extraordinary flexibility and beauty. There are 5 wing styles to choose from. The wings are accessed through typing numbers. The 5 pairs are: [1, 2] [3, 4] [5, 6] [7, 8] & [9, 0]. The odd numbers in the pairs will give you a left wing, and the even numbers will give you a right wing. The letters are separated into upper and lowercase. Uppercase has a crest point, the lowercase does not, giving you the ability to string letters together to form words and phrases, and place the tip of the crest above the letter of your choosing. Optional endcaps are available using the brackets on your keyboard "[, ]." This allows you to cap off a word if you wish not to use a wing to do so. Crestwing is both beautiful and unique, and works best at large sizes.

Near the end of his life, legendary type designer Eric Gill lived in Jerusalem, and became interested in the typesetting of the Hebrew alphabet and the challenges it entailed. He designed his own Hebrew font which has not (to my knowledge) been digitized before. It is sometimes held up as an example of how not to do a Hebrew font: Gill introduced strange serifs and shapes that were jarring to readers used to more traditional fonts. But it is quite readable, and does start to grow on you after a while; extended text in Gill Hebrew is possible. I've added a set of alternate digits that are based on the shapes of the letters (Gill's digits are pretty standard text figures). I've also made some of the Unicode Hebrew symbols that Gill didn't (e.g. New Sheqel Sign, Alef-Lamed ligature, etc.) and also included vowel-points.

SK Cuber™ is an expanded monumental pseudo-pixel typeface. It is based on a strict grid that is not broken in any glyph. This makes the type more organic and consistent. The type's characters are monospaced, but they do not look ridiculous and do not cause discomfort as it usually happens. This could only be achieved by carefully working out each glyph. The type also deliberately uses the contrast between geometric strokes and smooth transitions. It adds to his liveliness and character. SK Cuber is inspired by the monumental architecture of our days. It is brutal and extremely stable, which makes it an excellent font for working with posters, headlines, etc.

Welcome to our cozy coffee shop! Come on in, take a seat and savor the aroma of freshly brewed coffee. Speaking of coffee, have you seen our new font? Meet Barrista! Its relaxed, curly script perfectly captures the whirling curls of steam rising from a hot cup of Joe. Barrista is not just any font. Thanks to OpenType ligatures, certain letter combinations will automatically be substituted with customer pairings. This creates a natural, relaxed look that’s perfect for our laid-back atmosphere. Imagine jotting down your order in Barrista, watching as our talented baristas create your perfect cup of coffee. As you wait for your order, you can admire the intricate details of Barrista’s flowing script, which is inspired by the art of coffee-making itself. So, come on down to our coffee shop and experience Barrista for yourself. 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.

In the tradition of Goudy Old Style and Goudy Modern, Chong Wah drew Chong Old Style™ and Chong Modern™ as visually different – but complementary – designs. According to Chong Wah, “The extended family of typefaces started as a concept rather than a preconceived design. The concept is different sans serif type styles with a common underlying structure and a clear lineage to traditional serif designs. While there are similarities between the designs, each typeface was drawn as a separate entity.” Chong Old Style has the flavor of traditional old style designs without slavishly replicating the earlier design traits. It has the heft and color of an old style design but lacks the serifs and inclined stroke axis customarily seen in these typefaces. The result is a versatile suite of typefaces that deliver a straightforward message in large or small sizes. Chong Modern is a sans serif interpretation of the classic modern, or neoclassical, designs of Bodoni and Didot. More than a Bodoni without serifs, Chong Modern also has an elegant, Art Deco demeanor. This is a design that walks the line between traditional and contemporary with grace and aplomb. Chong Wah drew his Old Style and Modern designs in Light, Regular and Bold weights, adding an Extra Bold to the Old Style. All designs benefit from harmonizing italic counterparts. Both branches of the Chong family are also available as OpenType Pro fonts, allowing graphic communicators to take advantage of OpenType’s diverse capabilities. These fonts, in addition to providing for the automatic insertion of old style figures, ligatures and small caps, also offer an extended character set supporting most Central European and many Eastern European languages

Although English characters do appear on screen, in Star Wars canon this "language" is known as High Galactic. The main written language in Star Wars is called Aurebesh. This font is designed for an interface or signage with a pseudo dot-matrix style. Aurebesh has more than 26 letters, the additional characters are available as glyphs in the set. Numbers and symbols in the Aurebesh fashion are also included.

A handsome font, perhaps a little classical. Regularly-connected script, so it’s legible but also memorable font. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

At home we love bananas: the kids take them to school for ‘snack time’, they’re healthy and they look pretty as well! Republica Banana is a pun on the term Banana Republic, which was coined by American author O. Henry in 1901. In economics, a Banana Republic is a country that is run as a private commercial enterprise for the exclusive profit of the ruling class. Of course I can point out a few countries that fit this description, but let’s not get into that. Republica Banana is a very nice, hand painted brush font. It comes with double letter ligatures for the lower case and a lot of diacritics for you to play with.

Peter Behrens’ renowned art nouveau type from 1902 – with ornaments. Newly revised and neatly digitalized by Ingo Zimmermann In 1902, Peter Behrens (1869–1940), architect, designer and typographer, created a new ”German“ type which became very successful very quickly for the Rudhard’sche Gießerei (foundry which later became Gebr. Klingspor AG) in Offenbach am Main. It served, for example, as the official German type for the world expositions in 1904 and 1910. Behrens himself writes about the development of this type ”...For the actual form of my type, I took the technical principle of the Gothic script, the stroke of the quill feather. The proportions of height and width and the boldness of the strokes of the Gothic letters were also decisive for me in producing a German character. A cohesive character could be hoped for by avoiding all non-necessities and by strictly carrying out the design principle of holding the quill at an angle…“ By the way, when “long s” is activated, the typographically correct “round s” is automatically placed at the end of the word so that you need only pay attention to the correct s on syllable endings within words. When using “long s,” you must ensure the correct use of the rules for the Fraktur font: “round s” is always at the end of the word, also in compound words. For those of you who want to be even more correct, read the corresponding article in >> Wikipedia. Peter Behrens also drew matching ornaments for his typeface – we have likewise carefully revised these decorative touches and arranged them into a font. The "Behrens-Schrift" fits best on all topics that have something to do with art history or the time around 1900.

Lust Sans is the penultimate exploration of producing a high-contrast sans wholly influenced by its bracketed ancestor. The aspect of this endeavor I enjoyed the most was finding sneaky ways to infuse warmth and whimsy into the letterforms when you least expect it. The result, however, is subtle and uniquely balances against Lust and Lust Didone without becoming cold and overbearing. To accomplish this, Lust Sans has 6 weights. What I found during development was, based on any setting where Lust or Lust Didone were in the same layout, the amount of contrast shown with Lust Sans needed to be adjusted. Expanding the weight offering, produces opportunities for Lust Sans to modulate the rhythm of the layout comfortably while keeping contrast—this is even more obvious with the Italics. I love those. You will too. If you don’t, you do not have a soul. Not sorry. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

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"