Dragonblood is quite an unusual font: it was made with Parker ink and a Chinese fur brush. When all the glyphs had been vectorized, and I saw them in a text for the first time, the only appropriate name I could think of was Dragonblood. Dragonblood comes with a realm of diacritics.

Wiggly Wavy is a whimsical display font that took inspiration from french fries shapes. You can use it for anything ranging from t-shirts, kids’ book designs, restaurant menu, greeting cards, stickers, and posters, or anything that needs a casual touch. Try it to create lovely designs and feel the good vibes with it!

Jalebi font is quite like its namesake, the Indian deep-fried sweet. It is fat(tening), uneven, crunchy and addictive. Jalebi is an all caps font, but upper and lower case glyphs differ slightly and can be mixed. An ideal font for fat headlines, product packaging, signs and posters. Comes loaded with calories and diacritics!

I really like peanuts! My family and I often eat an Indonesian snack called Rempeyek, which is a deep fried, battered peanut cracker and I was probably craving one when I made this font. Peanut Crunch is a hand painted display font. It comes with some alternates and a bunch of ligatures for you to play around with.

The City Burn, formerly called "The city burn night after night and we spray-paint the walls", was especially designed for Mad Skills Mag issue#3 Urban Flavour. It needed to be street, and urban, so I made a stencil font. It’s used by Fox5 tv for the rant TV show, the website infected.com, Fried chillies TV, and others!

The power of ND Bimbo is here now. If you like deep-fried candy bars you will like ND Bimbo. This playful design integrates art deco influences into a contemporary display style. As usual, it covers Latin, Cyrillic and Greek. Respect ND Bimbo now! Get ND Bimbo now! You want ND Bimbo now! Create Magic with ND Bimbo now!

A "thick and thin" line weight treatment is given to Jeff Levine's Hash and Beans JNL, providing a whole new take on the design - first inspired by a sign in an old photograph of a diner. Favorite Hangout JNL conjures up memories of summer nights, drive-ins, your best guy or gal and sharing some tasty burgers and fries.

Pedell ist eine neue Schreibschrift, die das Schreiben mit Kreide simuliert. Ein Font mit eben diesem ‚Kreidecharakter’ fehlte bisher noch in der profonts Library. Also wurde der Schriftdesigner Ralph M. Unger beauftragt, eine Kreideschrift zu schreiben und zu digitalisieren. Pedell ist eine gut lesbare, lebendige und nicht kindische Handschrift, die nicht nur für schulische Zwecke hervorragend einsetzbar ist.

This family is based on an offering in Barnhart Brothers & Spindler’s Type Specimen Catalog No. 9, issued around 1910, originally named "Grant". It makes a handsome addition to the Whiz-Bang Woodtype series, and is available in both a Rustic and Refined version. Named for a town in Texas, which the locals pronounce "Reh-FURRY-o". Both versions of this font contain complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Yeti is tall and hand-drawn with a hint of calligraphy. It is quite possibly influenced by a yeti’s penmanship, but even that cannot be proven. Whether you enjoy writing or designing in all-caps or not, this font has something for you. Something furry. Yeti supports multiple languages and includes graphics and web icons to help get those creative juices flowing. Naturally, yetis love Easter egg hunts and being superstitious. This font is no exception.

The design of Kristall Grotesk is based on a cut by Wagner & Schmidt, Leipzig, from the 30s of the last century. The basis for the digital version of the Stiftung Werkstattmuseum für Druckkunst , Leipzig was the standard font (28p) of the manual cuts as offered by the font foundry Johannes Wagner, Ingolstadt. The implementation was deliberately created as a replica to create a faithful reproduction as a starting point for the design of other design sizes. The present Kristall Grotesk is therefore a headline design. The appearance of the typeface can be varied by a number of alternative forms of capitals, which, according to the taste of the time, contain either pointed or flat formations. Designer: Hausschnitt Johannes Wagner, Leipzig, Redesign Elsner+Flake, Hamburg Designdate: 1937, 2009 Publisher: Elsner+Flake Design Owner: Stiftung Werkstattmuseum für Druckkunst , Leipzig Original Foundry: Wagner & Schmidt, Leipzig

This unusual sans typeface was inspired by a serif face called Faust, designed by Albert Kapr for the Institut für Buchgestaltung in 1959. Its mix of medieval, Jugenstil and Bauhaus influences makes it an intriguing choice for your next project. Both versions of this font include the Unicode Latin 1252 and 1250 Central European character sets, with localization for Moldovan and Romanian.

This work is inspired by creatures that I have drawn for my six year old boy. The monsters can be found at chrismetcalfe.com. I wanted to take their hair/fur and translate the fun attitude to type. To be honest I think this font is used best as display type. However the fun attitude lends to many usages without structure.

In August 1930, Jan Tschichold described a new typeface, that is "producable by everybody without further knowledge" in the publication Börsenblatt für den Deutschen Buchhandel. Sebastian Nagel has extended the original drawing to 7 weights (black, extrabold, bold, semibold, regular, semilight and light), with full coverage of the Latin 1 character set. All fonts also include small caps and alternate characters.

No prizes for guessing this font family was inspired by the 1950s - the sounds (Buddy, Eddie, Elvis), the styles (polka dots, petticoats and Dior's New Look), and the kitsch, from furry dice above the dashboard to plaster ducks over the mantlepiece! A particular point of reference is the furnishings and fabrics of the Fifties (with their distinctive kidney shapes and angular curves) as showcased in the Festival of Britain 1951. See also my other fun fonts Barrowboy, Calypso and Pier Arcade.

CONCEPT/CHARACTERISTICS The typeface “Soul Lotion” is a sans serif font for display sizes. Con­struc­ted, clear and sim­ply with mono­line cha­rac­ter. The round and unador­ned look is modern & simple. APPLICATION AREA The modern, clear and simply sans serif font “Soul lotion” would be happy as a display typeface in headline size on the following areas and there simply feel good: Logos/Wordmarks, party flyer, album covers, CD covers, Poster design, video game design, and much more as display typeface for print and digital magazines, books and websites. TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Sans Serif Font “Soul Lotion” Open­Type Font (Mac + Win) with 6 styles (regu­lar, bold, light + 3x italic) & 354 glyphs. Incl. accents, alter­na­tive let­ters, liga­tures & €. Desk­top Font (.otf) + Web Font (.svg, .eot, .woff) KONZEPT/BESONDERHEITEN Die Schrift »Soul Lotion« ist ein serifenloser Font für Headlinegrößen. Kon­stru­iert, klar und einfach mit gleich­blei­ben­der Strich­stärke. Die run­den und schnör­kel­lo­sen For­men wir­ken modern & schlicht. EINSATZGEBIETE Die moderne, klare und einfache Sans Serif Schrift »Soul Lotion«, würde sich als Aus­zeich­nungs­schrift in Head­line­größe über fol­gende Ein­satz­ge­biete sehr freuen und sich dort schlicht wohl­füh­len: Logos/Wortmarken, Flyer für fast jede Party, Plat­ten­Co­ver, CD-Cover, Pla­kat­De­sign, Video­spiel Design, als Head­line­schrift für print und digi­tale Maga­zine, Bücher und Web­sei­ten u.v.m. TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Sans Serif Font »Soul Lotion« Open­Type Font (Mac + Win) mit 6 Schrift­schnit­ten (regular, bold, light + 3x italic) & 354 Gly­phen. Inkl. dia­kri­ti­sches Zei­chen, alter­na­tive Buch­sta­ben, Liga­tu­ren & €. Desk­top Font (.otf) + Web Font (.svg, .eot, .woff)

Health Warning! Coconuts are not that healthy!! I always thought that coconuts were the new quinoa, but apparently they’re not that good for you. They are furry balls of saturated fat, sugar and calories, so don’t go all out with your coconut eating habits! Of course, eating a bit of coconut now and then will not kill you, so enjoy! Coconut Punch is a handmade didone-ish font. Nice and rounded and full of saturated brush strokes. Comes with all the diacritics you need too!

Katsudon is a Japanese crumbed and deep fried pork cutlet, typically served on rice with egg drizzled over it. There is also a chicken variety. I have been to Japan numerous times (it is my favourite country) and each time I revelled in the great variety of foods being served in street stalls and hole-in-the-wall eateries. I especially love the grandma-and-grandpa eateries that are tucked away in alleys behind the major shopping streets. They never speak English and my Japanese is shaky (to say the least), but the food is always good and we always seem to understand each other. This year, I couldn’t travel to Japan, because of the Covid outbreak, but I can tell you that I miss Japan a lot! Katsudon is a crumbed and deep fried font. It comes with a splash of authenticity, a sprinkling of cheekiness and a generous dose of oomph. Oh, yeah, and double letter ligatures, plus a few alternates as well.

In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface designed by the legendary Eric Gill in 1931. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it in a digital format was an honor. Aries® is now in the fonts catalog of GroupType who owns the the registered trademark and has licensed this historical typeface exclusively to FontHaus as distributor.

In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface designed by the legendary Eric Gill in 1931. Discovering a lost typeface by one of the major designers of the 20th Century, was like the discovery of buried treasure, and being the first type company to release it in a digital format was an honor. Aries® is now in the fonts catalog of GroupType who owns the the registered trademark and has licensed this historical typeface to FontHaus as distributor.

Designed in 1950s Japan by Okanao & Kushiro, the perfect partnership until artistic temperaments drove them apart. The duo spent years crafting the font with the working title “Messenjā”, Okanao bringing technical expertise to craft letterforms, while Kushiro made it his life, obsessively working late into the night to check pages for errors. For him the project was never about making money, it was an artistic endeavor to reprint the great Western works of literature. When he found out Okanao had secretly sold the rights to the font for use as a logo for a major Japanese manufacturer, Kushiro burned all evidence of the designs in a fit of passionate fury. The two reportedly never spoke again. “Messenjā” was thought lost forever until a type specimen was discovered in a vintage typewriter box bought on eBay. Now redrawn and available as 57-nao, a faithful and beautifully crafted monospace characterized by what is considered Okanao’s defining moment, the angular loop on the lowercase ‘a’.

Letterhead Studio makes both fonts and design with own fonts. The studio is started in 1998 by Yuri Gordon, Valery Golyzhenkov and Olga Vassilkova. We work in graphic design, branding and type design. Our collection of Cyrillic fonts includes more than 330 faces, generally it is display fonts. Letterhead is one of leading developers of custom-made fonts, lettering and digital calligraphy in Russia. Among clients of studio are magazines like Rolling Stone, Esquire, GQ, Empire, Interni, Harpers Bazaar. Also we develop corporate fonts, more often for banks. Letterhead co-operated with Gazprombank, Rosbank, the Alpha-group, Trust, Menatep, Orgres-Nordea and others.

Brrrrr is supposed to represent snow-covered letters, though it could also be letters covered with frosting. The lower case letters are identical to the upper-case letters. Buried in the font is another set of letters on Christmas tree ornaments. (They are on unicode characters in the 2400 block, circled digits and letters. See here.) The OpenType Stylistic Sets feature makes accessing these letters easier than using unicode, and another font, InsideLetters-Christmas, develops them further. The Brrrrr-Icing style can be used in a layer over Brrrrr to give the snowcap any color, not just the background color.

A long time ago, I used to work in a Pundak near the Dead Sea. It was a typical halfway restaurant slash gas station and you could order the usual dishes: fries, schnitzel, salad. Of course, this typeface has nothing to do with that Pundak; I just thought about the time I spent there when I created it. Pundak font is an all caps contoured affair. Ideal for packaging (not just Schnitzels…), headlines and posters. It comes with all the diacritics.

CONCEPT/CHARACTERISTICS This strikin­gly bold, black and exten­ded 3D font remi­nis­cent of sci-fi films and expe­ri­men­tal type­face design. The font acts as a chain of liga­tures and thus recei­ves a uni­que aes­the­tic. The uni­que let­ter forms are in sharp con­trast to other fonts and thus stand out as a uni­que sel­ling point. APPLICATION AREA Pos­ters, music cover, book cover, logos, as a head­line font for maga­zi­nes or websites … TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Sci-Fi Font »Mega Slant Line« Open­Type Font with 303 gly­phs – alter­na­tive let­ters and liga­tures (with accents & €) & 2 styles (regu­lar & 3d) KONZEPT/BESONDERHEITEN Diese auf­fäl­lig pla­ka­tive, fette und breit­lau­fende 3D Schrift erin­nert an Sci-Fi Filme und ist expe­ri­men­telle Schrift­ge­stal­tung. Die Schrift wirkt wie eine Kette aus Liga­tu­ren (Buch­sta­ben­ver­bin­dun­gen) und erhält somit eine ganz eigene Ästhe­tik. Die sehr eige­nen Buch­sta­ben­for­men wer­den sich deut­lich von ande­ren Schrif­ten abhe­ben und somit als Allein­stel­lungs­merk­mal her­aus­ste­chen. Der Fluss ergiebt sich aus den EINSATZGEBIETE Pla­kate aller Art, Musik Cover, Buch­co­ver, für Logos und Wort­mar­ken, als Dis­play­schrift für Zeit­schrif­ten oder Websites… TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Sci-Fi Font »Mega Slant Line« Open­Type Font with 303 gly­phs – alter­na­tive let­ters and liga­tures (with accents & €) & 2 styles (regu­lar & 3d)

CONCEPT/ CHARACTERISTICS The lava/soap/pudding character of the font reminds us of a modern bitmap pixel font. »Curly lava bubble« goes even further. The rectangular hard edges expands to soft and almost organic forms. APPLICATION AREA The fancy, modern & decorative font »curly lava bubble« would look good at dis­play size for party flyer & movie pos­ter, music covers or head­lines in maga­zi­nes or websites… TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Decorative Font »curly lava bubble« with 3 stlyes (light, regu­lar, bold) & 305 gly­phs inkl. accents & € KONZEPT/BESONDERHEITEN Der Lava/Seifenblasen/Pudding Charakter der Schrift lässt an eine moderne Bitmap Pixel Schrift erinnern. Wobei »curly lava bubble« noch weiter geht und die harten rechteckigen Kanten zu weichen und fast schon organischen Formen ausbaut. EINSATZGEBIETE Der Font würde sich über fol­gende Gebiete sehr freuen und sich dort wohl füh­len: Logos/Wortmarken aller Art, Flyer für fast jede Party, Plat­ten­Co­ver, CD-Cover, Pla­kat­De­sign, Game- und Video­spiel-Design aller Gen­res, als Head­line­schrift für print und digi­tale Maga­zine, Bücher, Web­sei­ten… TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Deko Font »curly lava bubble« Open­Type Font mit 3 Schrift­schnit­ten (light, regu­lar, bold) & 305 Gly­phen inkl. dia­kri­ti­sches Zei­chen & €

The Vampires have risen from their graves! Innocent young virgins (also goats, sheep, sheep dogs, cows and other sundry farmyard animals) may not see out the night. DUSK TILL DAWN has been exhumed, lightly dusted in dry earth and exsanguinated for your convenience. Bury your tombstones in Gothic Chic with a font that may very well be worth dying for. We cannot guarantee you will come back to life however. We waited to unleash this font until the midnight hour, so grab your wooden stakes, silver bullets, crossbows, slingshots and any supernatural weaponry you may have at hand. Garlic capsules and Holy Bibles are also recommended!

HeyPumkin is a letterbat font designed for use in the late autumn, when the leaves are falling and the harvest is underway. October 31 is an especially good time to use it. The upper- and lower-case letters are almost identical. If you want a version of this face without the pumpkins, try Ingone. Buried in the font is another set of letters on pumpkins. They are on unicode characters in the 2400 block, circled digits and letters. These characters can also be accessed using the OpenType stylistic sets feature. (The alternative characters are further developed in a separate typeface, part of the InsideLetters family.)

Forte was designed by the Austrian commercial artist by Carl Reissberger who was trained as a compositor and later taught typography and drawing in Vienna. The idea for the Forte script font came from the study of plants, individual letter forms being inspired by the long stems and furry heads of the reed. Slightly inclined, it gives the impression of having been made with a bold brush or marker, and can therefore be used in work that requires an informal appearance. Forte is a strong design which contrasts well with sans serif faces and classical modern types. Use the Forte font in advertising, flyers and labels.

It could be you’ve never heard of Kapsalon and I will forgive you for that. Kapsalon is a Dutch word, meaning ‘hairdresser’s’. Since 2003 it is also a very popular snack food, which consists of french fries, döner kebab, lettuce, sambal, garlic sauce and melted Gouda cheese, served in an aluminium tray. I have to admit that I have never eaten a Kapsalon myself, as I am not too fond of fast food. I named this font package Kapsalon, because, like its namesake, it consists of several unrelated elements that work really well when combined.

Leopard Varsity Font is designed to mimic the pattern of a leopard’s skin within the letterforms. Its unique characteristic lies in the intricate texture within the letters, resembling the spots or rosettes found on a leopard’s fur. Each letter incorporates these patterns in a way that adds depth and visual interest to the text, creating a bold and distinctive appearance reminiscent of the striking and organic design of a leopard’s coat. This feature makes it an eye-catching choice for projects aiming to evoke a sense of wildness, uniqueness, or adventurous spirit. **Uppercase

ITC Coventry is the work of American designer Brian Sooy. ITC Coventry is what type would look like if you left a gothic font out in the rain. IF you look close, you'll see the roots of a handsome sans serif font buried under a layer of grime and rust, basically." The low-budget student flyers that Sooy saw in the Coventry section of Cleveland Heights, Ohio, inspired him to design this font and the result is a typeface which looks as though it has been faxed or photocopied many times. "While it looks very irregular in text, it's very carefully spaced to give that effect," says Sooy. ITC Coventry was designed to work just as well in text as in headlines or even on billboards."

The first Tuscan lettering was penned in the mid-fourth century by the calligrapher Furius Dionysius Filocalus. The style was still in common usage as calligraphy when Vincent Figgins designed the first Antique Tuscan for print in 1817. Antique and Gothic Tuscan woodtype fonts appeared in the 1830’s. By the 1850’s, Tuscan fonts had become popular in America. These styles continued in print use into the twentieth century. Tuscan Antique and Gothic styles, borrowed from print and calligraphy, were perfect for signs, posters, handbills and other large format advertising. Sign painter, Frank Atkinson demonstrated several Tuscan forms in his book Sign Painting, A Complete Manual. Modified & Spurred Tuscan Romans were inspired by this and other works of the same period.

Koziupa and Paul are just as good in the kitchen as they are on the drawing board. Cooked is their choice offering of stir-fried and juicy alphabet ready to complement any visual stew you can put together. This meaty course, with even meatier OpenType programming, was designed to crank up the volume on the viewer's senses of smell and taste, and induce drooling at a mere glance. Cooked is just as suitable in packaging as it is on posters, books or music stressing the wild, adventurous and extremely pleasurable side of life. Lot of alternates of each letter are included. Enjoy!

A ‘Brochette’ in French is a skewer. I used to be a tour guide and some years ago, I guided a couple of tours in Mali. Every night at dinner we had the choice of a ‘Brochette de Capitaine’ (grilled Nile perch on a skewer) or a ‘Brochette de Bœuf’ (grilled beef on a skewer). Of course, every night the Brochette came with French fries and ‘petits pois’ (peas). It was really nice, but after 4 months of eating Brochettes, I longed for something different! Brochette is a very nice rounded font. It comes with curls, swirls and swashes.