Puffball is a fat face with cartoonish features. It also wouldn't look out of place in an ancient Celtic engraving. What makes Puffball so intriguing to look at is that it seems to walk a thin line of buffoonery and ornamentation.

Are you looking for a fun, bouncy lettering set for envelopes, logos, typography, branding and greeting cards?! Well look no further! Created with stationary in mind, Hey Bombshell is sweet, sassy and LOADED with extras to make your work stand out!

On the sides of freight cars, passenger trains, trolleys, buses and cable cars was once found identifying letters and numbers with a bold, yet quaint hand-painted look. Public Transportation JNL emulates the old-style look of those bygone years.

The look of hand lettering often breaks up the monotony of the printed page. Rockaway JNL from Jeff Levine is a big, friendly sans serif that can give more of a human touch to your upcoming project without looking too informal.

Introducing Gavuel font with a unique, bold and wide sans serif look. The carefully crafted nodes and each line can create a luxurious look for high-level graphic branding Gavuel will be a perfect choice for labels, packages, covers, headlines, etc

Inkie is a hand drawn pen and ink alphabet with scratchy embellishments, and works great whenever you want a handwritten look to your art, but with a bit of extra flair. Inkie looks great both as text and as headlines.

Introducing a vintage look layered label typeface named "Vintage Whiskey". This typeface includes six styles (including effect styles), for sample look at 4th preview. This font will good viewed on any retro design like poster, t-shirt, label, logo etc.

I set out to design a monospaced font and decided it would look way better if it wasn't. It gave me the freedom to make the individual glyphs more interesting while retaining the mono-look. The numerals are tabular! Enjoy!

Need a semi-formal yet unique font? Thinkerbery is the answer! The look of Thinkerbery is like a digital typing style but still has its uniqueness. We bring a strong looks for your text. Enjoy in creating unique arts using Thinkerbery! :)

Italian Typewriter was designed by Leonardo Di Lena studying some Italian typewriters of the thirties and forties. Italian Typewriter is a monospaced font that can be used for any work that requires an old-fashioned look or an old-tech look.

Nikaia started as an experimental typeface (the script weights) and was then expanded to its logical conclusions (italic & regular), producing the fastest look typeface in the world. Nikaia looks clean and sharp at any size, with 5 weights for contrast.

Mavblis fonts have playful and fancy look, which may recall that seen in fifties ads. The look, which is quite bold may well allow for using this font in titles, packaging, or catchphrases. There are also some ligatures and alternates encoded, so you are not stuck with one look in case you require to add some variety to your text. There are over 900 characters in each font, and many languages are served.

Golden Dragon is a hand-drawn serif typeface. The font's vintage look adds a personal/organic touch to your designs. It looks absolutely beautiful paired with textures. You can use it for branding, social media, headlines, Youtube thumbnails, emblems, posters, merchandise, advertising, and much more. Golden Dragon is perfect for creative projects that need a unique Asian look. But don't let that limit your creativity it's also great for pirate themed projects.

ITC Eastwood is the work of British designer Martin Archer and is named for Clint Eastwood. Archer was looking for a plain oldstyle typeface with open lower case forms and used Stempel Garamond as his starting point, although the result ended up well beyond its origins. In small point sizes the typeface looks interestingly rough while at display sizes it looks like a 16th century French typeface and its unique details come forward.

Bhekof is typography with strong characteristics. Explore several other eras of art and combine them into a strong Bhekof characteristic. A great typeface for your next design project. Looking for a typestyle that has strong characteristics? Look no further than Bhekof! This awesome typeface has a vintage look that will make your designs stand out from the rest. With strong characteristics like this, it’s no wonder it makes your design very popular.

Here comes a New font, Modern Cowboys is a Cartoonist Western Typeface Vintage Serif Display font this is strong vintage Typeface western-looking display font. This font is great for your next creative project such as logos, printed quotes, invitations, cards, product packaging, headers, Logotype, Letterhead, Poster, Label, and etc. That is why Modern Cowboys has Stylish and unique characteristic more natural look to your text with a more modern look to your text.

“Tonight Friend” is a bold and quirky display font with a fun, trendy street-style vibe. From posters designs to t-shirts and packaging, Tonight Friend will give your designs that alternative minimal look and make your creative work look supercharged. “Tonight Friend” is drawn by direct hand so that it looks more unique. The modern typeface has a host of ligatures included. Combine its bold shapes to give your work a more unique, hipster attitude. Easily create professional cool-type lockups that look like hand lettering. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

LiebeFish is a collection of 172 individually hand-drawn fish. Each has its very own personality; some are happy, some are sad. Some like company, some are bored, most are cute and a few are weird. If you look closely, some fish will surely look like people you know. LiebeFish probably is the most comprehensive collection of hand-drawn fish ever. They look great on almost any greeting card, birthday card or invitation. LiebeFish also serve as a perfect companion to any informal graphic design that needs a personal, handmade touch. If you like this font, have a look at our other cute fonts such as LiebeTweet and LiebeRobots.

CA Cula is standing in the tradition of cool tempered sans serif typefaces like DIN. But at a closer look it reveals a tendency towards rounder reading-friendly forms. The denaturalized ink traps give CA Cula a very special and individual look in display sizes, whereas in smaller sizes the positive aspects of huge ink traps show effect. The text looks clean and bright without black dots in the typographic image. This makes CA Cula suitable even for longer text, while the bold weight makes pretty cool headlines. The choice of weights aims at an easy straight forward use. A set of five well balanced weights ought to be enough to cover most needs without throwing the typographer into questions like: demibold or semibold? If you are looking for the extra kick, look out for CA Cula Superfat.

Mundo Sans, by Carl Crossgrove for the Monotype Studio, is distinctive, approachable – and ready to tackle jobs both big and small. Its open counters and large x-height, which give the design a straight-forward no-nonsense mien, are softened by inviting calligraphic undertones. With 10 weights and a complementary suite of cursive italics, there is little outside the range of the Mundo Sans family. The light weights are elegant in packaging and brochure design, the medium are easy readers in digital blogs and print periodicals and the bold command attention in banners and headlines. Mundo Sans is at home in a wide range of sizes, and comfortable in everything from wayfinding to mobile apps. Mundo Sans takes on complicated branding projects with efficient grace. The family enables companies and products to express their brand seamlessly in websites, advertising, corporate messaging, packaging – virtually everywhere visible engagement is possible. A large international character set, that includes support for most Central European and many Eastern European languages, ensures ease of localization. Mundo Sans was originally released with seven weights. The family was updated with three new roman weights and their italics in 2019 that extend and diversify its range of use: a fine hairline weight, a book weight, slightly lighter than regular, and a demi that is subtly lighter than the medium. The design is also is a good mixer. It easily pairs with everything from refined Didones to stalwart slab serif designs. And if you need a more harmonious palette, look no further than Mundo Sans’ relative, Mundo Serif. The two designs harmonize with each other perfectly in weight, typographic color and proportion. Mundo Sans’ italics are true cursive designs, with fluid strokes and obvious calligraphic overtones. The flick of the down-stroke in the ‘a,’ the descending stroke of the ‘f’ and baseline curve of the ‘z’ add grace to the design and distinguish it from more mechanistic styles. Mundo Sans is a design with deep roots. It was originally drawn to pair with classic Renaissance book typefaces like Bembo® and ITC Galliard®. With a hint of diagonal stroke contrast and gentle flaring of strokes, Mundo Sans complements these designs with warmth and grace. Crossgrove says that Mundo isn’t meant to be showy or distinctive. It is intended to follow the tradition of sans serif designs that have a wide range of uses, enabling comfortable reading and clear expression. Crossgrove has designed a variety of typefaces ranging from the futuristic and organic Biome™ to the text designs of Monotype’s elegant Walbaum™ revival. His work for Monotype also often takes Crossgrove into the realm of custom fronts for branding and non-Latin scripts.

Since many years I live in Munich and read the daily newspaper Abendzeitung. One morning they had redesigned the paper, using Eric Gill's Joanna for the body copy and a tweaked version of Franklin Gothic for the headlines. Since both typefaces are my all-time favorites, I was very pleased. The old hand-lettered title lettering designed by in-house designer Ernst Friedrich Adler around 1947 or 48 was untouched as it always was. Adler had worked for the newspaper an incredible 47 years! Ernst Friedrich Adler celebrated his 100th birthday in the summer of 2007 looking very healthy. But someone had adapted his title lettering for use in the chapter headings, and I did not like the way that was done. Every morning I saw those letters and thought "one day I have to clean that up". About 15 years later I finally did it! Being at it, I designed the whole typeface and added a second fancy cut. And, what do you know, the people at the Abendzeitung called me up and said they liked what I did and started using it. So since that day in 2005 I can read my morning paper without having to wonder about the chapter headings. Well maybe one day they will do another redesign and maybe they will use another one of my fonts. Your editorial typeface designer, Gert

Broken letters[1] (German: gebrochene Schrift literally "broken writing"; English: blackletter) or Gothic letters, also known as German letters, are the typeface used in Europe West from the 12th century to the 17th century. Meanwhile, Danish spoke it until 1875 and German, Estonian and Latvian spoke it well into the 20th century. Fracture is one of the broken typefaces that is often considered to represent the entire broken typeface. Broken letters are sometimes also called Old English, but not in the Old English or Anglo-Saxon sense that was born centuries earlier. This group of letters is so named because it contains Latin letters that have breaks in the curvature of the letters, either in part or in whole designs. The fracture arises from a sudden dip when writing certain parts of the letter. In contrast, letters with perfect, unbroken curves, such as Antikua, are created from smooth, flowing writing movements. Grogoth is a font inspired by the Blackletter typeface, made with a modern impression but still looks strong and unique. In addition, Young Best font is also supported with multilingual characters that can be used in several international languages. Grogoth font is very suitable for use in making music album cover designs, tattoo logos, wishkey labels, packaging pomades and so on which are made with dark and strong concepts. Thank you, and don't forget to check out our other products.

A well balanced distinctive look; great for all applications.

A well balanced distinctive look; great for all applications.

Get that vintage sign lettering look with Orange Whip.

A powerful yet elegant script with a unique look.

Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Ricordi Allegria useful links: Specimen | Graphic presentation | Customization options TT Ricordi Allegria is a sleek and intelligent contemporary Florentine grotesque inspired by the half-erased lettering in Basilica di Santa Croce, Florence. TT Ricordi Allegria was drawn by Antonina Zhulkova and reflects in its graphics the transitional stage between the classic serif with varying proportions, gravitating towards the Roman capital type, and the Florentine sans serif. The font is characterized by variability in the proportions of characters, contrast between strokes, wedge-shaped triangular characters, and the absence of traditional serifs. The main visual feature of the typeface is its diversity and the ability, using different stylistic sets, to completely change the character and perception of the typeface. The drawing of the characters from the main set is strict, thanks to which the font looks stern, as if the inscription in the font was really carved out of stone. And with the help of another set, we can add roundness, or even smoothness, to the font. This is due to the fact that the letters (E R K Q J Y in Latin, and Л К Ж Э in Cyrillic) from the second set have either very noticeable "curls" or smooth, rounded "legs". In addition, the typeface includes a set of beautiful ligatures for use in display inscriptions, such as large headlines. An interesting moment when working on the typeface was the creation of the Cyrillic typeset, since the Cyrillic alphabet does not so easily fit into the concept of the Florentine grotesque and stressed semi-serif. The most difficult thing in working on the Cyrillic alphabet was to create a system of spacing for characters, as it was done in the Latin alphabet, and to make sure that when typing in Cyrillic, the drawing of the text remained beautiful. That is why the letters Д Л У Ы appearing in the font family are somewhat unusual to the eye, and the proportions of other characters in Cyrillic are not quite “classic” either. In general, the Cyrillic set looks more display than its Latin prototype, but at the same time it lacks the sense of historicity or legacy of the Soviet past, which often comes to the foreground when working on the design of the Cyrillic alphabet in this type of serifs. TT Ricordi Allegria consists of two weights (Regular and Bold) and one variable font. Each style includes over 750 characters, as well as 19 OpenType features. Interesting features of the typeface include three stylistic sets that greatly change the perception of the font, a set of bright display ligatures, a few neat icons that are suitable for breaking text and will emphasize the visual language of the font. Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org FOLLOW US: Instagram | Facebook | Website

-Fabulous, beautiful, friendly, talkative, sweet, caring, a little on the odd side, very desirable by many, good at almost everything- That's the definition of Fabiola according to the slang dictionary of americans. If you were you looking for something delicious, a font that covers a really wide range of uses and always looks amazing, Fabiola should be your choice. Although it may look as another of my scripts with juicy swashes, this time I explored in depth the pairing and interaction with capital letters for more unique results. Why? We are going through some crazy days where the number of people interested in letters is only growing. We see lettering everywhere: I can say that finally our field is shouting out loud; letters are THE protagonist more than ever. Hence the need of combining and pairing different styles is booming. Fabiola Script and Fabiola Caps were done in a way that they seem to need each other. There's nothing better than the above images to prove this. But, how does it work? The big swashes of the Script style were designed so they can surround, wrap and mingle with the Caps styles. The smaller swashes are meant to be used when the Script is alone. Simple, right? I hope you find Fabiola useful on your projects and enjoy using it like I did when making the posters! Have a super fabulous day!

Unique and funny are the hallmarks of a kenta font, this font is made with a wider width to make it look unique, and is combined with lazy hand strokes to make it look funny. suitable for use in casual themed graphic designs.

Ashura is a spectacular display font. A little bit quirky, this font looks incredibly adept on a wide variety of contexts, this font look incredible for any design, and suitable for heading, logotype, advertising, shirt design, packaging, cap design, and much more

Millport JNL is another retro-design font with a look closer to hand-lettering than formal typesetting. Use it for headlines, titles, signs, posters and point-of-sale items. No matter what the application, Millport JNL looks clean and retains its nostalgic feel.

Dolmen font from Max Salzmann revives the look of the 1920s and suggests all the glamour and culture of the jazz age. Dolmen can be used in all capital or upper and lower case settings and gives any work an Art Deco look.

Contra Flare is the organic design of my Contra family of fonts. It has beautiful curved endings – not serifs – that make it look like it was made out of flowers leafs. But still the font has an elegant look to it. Enjoy!

Tangy Cream is handmade with a slightly geometric look. And to break the geometry, just a little bit, I have added 3 different versions of each lowercase letters. These automatically cycles as you type, leaving your text even more lively and organic looking!

Practice Sketch This sketch font is perfect for your needs to look elegant and dignified, a luxurious impression will be seen when you use it, aesthetic and modern, very suitable for types of designs that want to look stylish. Thank you very much

The Magical look of Eklekt is not made by chance, it is created with the combination of graphic-sharp shapes and a flow curves that looks a bit like it is written by hand. Can be used for logos, headlines and short text.

Koska Esko This is a font with a very bold and elegant look, perfect for designs with a modern look it's time for you to try a new style for a new design include : numeric latin ligatures alternate And Thank you very Much