Bubbly, authentic teen girl handwriting. Loopy and cute but legible.

Cute, messy (yet still legible) teen girl handwriting with flair.

Steak Muroh is a layered display font with grill effect. This font perfect for steak & grilled food promotion . Combine it with steak muroh regular & display style to make grill effects better! Steak Muroh perfect for steak restaurant & cafe promotion, branding, logo, invitation, stationery, social media post, product packaging, merchandise, blog design, game titles, cute style design, Book/Cover Title and more. What's Included : - Steak Muroh Family Font - Layered Font - Multilingual Support --- Hope you enjoy with our font! Attype Studio

Amber is a minimal font which is built on a grid of 3x3 squares. It was an experiment to see if I could build legible glyphs out of such a small grid. The 3 weights can be layered over each other to create interesting designs.

Vernox is a geometric sans serif font inspired by Swiss design. You can completely align the grid to a grid. It is intended for small pieces of text such as titles and qoutes. Vernox comes with 2 weights. It makes perfect for all creative projects.

The Greek font started from an experiment with designing fonts based on a geometric grid. I joined the points on the grid with straight lines to form the various characters and found that this resulted in a font that closely resembled Greek writing (derived from inscriptions carved in stone) of ancient times. I continued to develop this theme but I now accentuated the look and feel of Greek writing. The three styles shown are the results of this development. I did not kern or letterspace the individual letters since this would have been out of character with the orignal Greek writing. This means that the font is mono-spaced. At a later stage I may produce more refined and "modern" versions of these fonts. Surprisingly, the Greek SCF styles are very readable. The font is fully professional in terms of its character set. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). In fact, it has all the accented characters used in the major European languages.

A condensed loose brush style. This font has a breezy elegance and casual sophistication, yet in a different context or color, it could be seen as nervous and urban. A weird dichotomy. Set in smallish text blocks, it has a surprisingly even color. This is due to a balace that has been struck between keeping the roughness and idiosyncracies of a hand-drawn face but ensuring an overall regularity.

Back in 2013 I released an all caps font called Rum Doodle. Rum Doodle is a really nice, really weird font with angular glyphs and a unique look. I decided that it would be nice to tweak this font a bit and design a lower case for it. The result is Chew On This. I chose that name for no apparent reason - so don’t make a fuss about it…

Oodles of doodles! Altogether brings not two or three, but eight - yep! - flavours for each letter. Original, creative, authentic flavours. Sometimes sweet, sometimes fun, sometimes weird. A bit eccentric, let's say. So we can say it different. Let the autopilot cycle all these glyphs by simply turning on the contextual alternates feature inside your application. If you prefer, handpick your choices from a glyphs palette. And, mainly, have fun!

Linotype Renee is part of the Take Type Library, selected from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. It was a prize-winning entry of American designer Renee Ramsey-Passmore. The letters of this font are strictly constructed with a grid, which is still visible in the weight Types + Lines. The figures are designed with only the basic forms of circle, rectangle and triangle, giving the font an individual and technical feel. Some letters are only recognizable in the context of a word, making Linotype Renee exclusively for short headlines in large point sizes.

The handwriting of a teen girl- bubbly, round, legible, and cute.

Tetsuo is a geometric, gridded and monospaced typeface exhibiting a futuristic simplicity.

Arzachel is a humanistic sanserif with a big x-height and a specific organic look. Its design is scientifically sharp and efficient in small type sizes as well as rugged and dramatic in headlines. Arzachel’s essential feeling comes from several features: all the letters are slightly sloped, stem terminations are flared at the top, and the terminals in letters a, c, e, f… are widening with the inside parts completely flat. The stroke contrast is low in the regular weight while it increases in the black; finally the capitals have an inscriptional flavor. Despite being a sanserif (thus a product of recent typography) Arzachel’s roots stretch back to the Renaissance tradition: Olocco took inspiration from some of the early and rather weird types cut in Venice in the 15th century. Arzachel was conceived during Olocco’s MA in Reading to provide a companion for his Zenon for use in small type sizes. But instead of expanding the Zenon family with optical sizes, the designer decided on a sans with its own personality rather than a sanserif version of Zenon with chopped-off serifs.

Matisse's paper cutouts inspired Gail Blumberg, Adobe art director, to create a typeface of figures. Her biggest challenge: keeping each Cutout design in scale. It's not easy to make a standing figure, like 'Y,' to be the same size as a curled up figure, like 'G,'" Gail says."

Lunanic is a geometric novelty typeface family with a touch of graffiti. The letters are formed from a circle with a notch or nick taken out, a shape that reminds me of a partial lunar eclipse. Half of the family have the nick on the left and half on the right. The faces are monospaced and so tightly spaced that there is no space between most of the letters so the filled styles cannot be used alone without tweaking. There are several ways to tweak them to make them readable: adjacent letters can be colored differently, the characters spacing can be increased, or an outlined style can be layered on top of the filled letters. The family does not have a true lower case. Most of the characters in the lower-case slots are alternates for those on the upper-case keys and they can be mixed in whatever way the user finds best. The family has twelve members: two orientations with three weights each and each of these six has an outline style to go with it. Lunanic is fun, bizarre, weird, and obviously a decorative display font.

Display Hatched is ideal for posters with an industrial theme and is designed as a complement to Greater Albion’s “Singwriter Standard” typeface. All glyphs are diagonally shaded giving just a delicate touch of ‘industrial edge’ which is so ‘on trend’ at the moment. Display Hatched includes small capitals and title forms, as well as three forms of numerals. Bring a little industrial grit to your next project!

32 illustrations of 15 Frames and 17 Banners. Most are line drawings with a reverse version. Lots of dots and grids, scallops and stripes to mix and match. Quick way to add some punch to your layouts. Great for mailing labels, labeling for jars, borders for this and that. Nice scrapbook additions too. Take a look at Rae's other frame fonts... Frames & Borders and Frames & Borders Too.

Numpty is a word of Scottish origin and means ‘someone who, by speech or action, demonstrates a lack of knowledge’. I use this word quite often (as this world, unfortunately, seems to be full of numpties). And guess what? Now you know what it means, you can use it too! Hooray! Numpty is a fat, rounded display font. A little uneven, a little weird, but with enough panache to make your designs stand out.

Umidus font - Trippy wavy liquid decorative font, which works perfectly for bold titles, Festival posters, as a graphic element for bright T-shit or hoodies, or even backgrounds! This weird and ugly font likes an experiment with spacing and different deformation. Please, don't hold back on your bold modern ideas! ------------------- You will receive: - 3 OTF files (3 font styles: plane black, transparent outline, black with highlights) - ATTENTION! font comes WITHOUT any photos, textures, or effects.

Call me some kind of weird, but I find designing fonts about the most fun you can have out of bed. Legible-scmedgible, sometimes you just have follow the font muse regardless of where she takes you. She threw me a circle, a triangle, a rounded stroke and a rounded-cornered square; “Make glyphs,” she sang. Okay! Is it legible? Yes. Is it readable? Kinda. For the right project, though, that’s enough!

Friday Freak PB is a playful font inspired by the titling of the 1976 Disney film, "Freaky Friday". This font has a slightly clumsy stumble to it, adding to its personality and appeal. From slightly weird weighting to a ligatures feature that will auto-shuffle all-caps and all-lowercase settings to have a mix of both, keeps typesetting lively. Stir things up and get a little crazy with Friday Freak today!

Cell is a sturdy, geometric typeface with many potential applications. Though it is best suited to display sizes, its construction is simple enough for use in smaller settings. Its octagonal, almost mechanical design is softened by rounded corners. The face is characterized by a single thick stroke in each letter, lending it a unique appearance. It also features an oblique counterpart with several italic-style glyphs. Both members of the family also include small capitals mapped to the Private Use Area. Cell was designed to be at once simple and unique. Its grid-based structure is enhanced by slight adjustments for optical consistency. Glyphs which are normally round instead have 45-degree angles at the corners, sticking to the grid system without losing legibility.

This is based on the handwriting of a teen girl- bubbly, round, optimistic handwriting.

Quadrate is a simplified grid typeface that retains legability fairly well at smaller sizes.

Foundry Fabriek was inspired by the concepts behind industrial fabrication, where and how parts of materials or structures are united. The systematic grid, formed by stencil shapes, is indicative of the work of Wim Crouwel, consultant on the development of this typeface. The compact character widths of Foundry Fabriek are consistent over the five weight progression, giving flexibility for a variety of applications. The characteristic letterforms have an extra dynamic in large scale, perhaps in cast concrete or laser cut metal, to form integrated components in architectural or signage projects.

A futuristic grid-based interpretation of the classic Prisma by Rudolf Koch (1927-29). Prizma2012 breaks away from typical rounded characteristics of most Multiline designs and embraces 45 degree angles, a rigid grid system and open ended terminals. Intended for use at large sizes, the family comes with four weights for optimal impact.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit or 25-percent increments increments to keep the grid. The »H« in the font name stands for horizontal (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my Family Kontext Dot

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 50-unit or 25-percent increments to keep the grid. The »V« in the font name stands for vertical (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my family Kontext Dot

Digot 02 is a pixel-style, grid-based, display typeface. This is another version of Digot typeface. Compared to Digot, it is characterized by a more slender form, the letters are taller and narrower, which makes the font lighter. The font is characterized by its simplicity, attention to detail, and original form. You can use it in a wide variety of projects. It gives many possibilities for creating graphics.

I started this font on a Monday and I finished it the Monday after, so I guess the name is right! Another Monday started off as a bit of doodling (with a Sharpie pen) on a piece of paper. Before I knew it, I had a complete glyph set and it looked nice. Another Monday is a bit messy, uneven and maybe even a little weird, but it will look good on postcards, packaging and labels.

Here comes a New font, Introducing WORTHLESS It's Weird Display Font is a Natural Style and Authentic classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. WORTHLESS a natural Hand Drawn feel. This handmade font will make your design has a beautiful natural touch for each details.

In 1966 and 1967 a series of weird events spooked Point Pleasant, a small town in West Virginia. Townspeople described a creature that looked like a man, with red eyes and moth-like wings, which appeared at several locations around town. The Mothman myth was born. Mothman font is spooky as well. It is a very scratched and distorted typeface, completely hand drawn, using ink and various sharp utensils. Mothman font will surely leave a lasting impression!

Nockwell font - Psychedelic liquid decorative font, which works perfectly for bold titles, Festival posters, as a graphic element for bright T-shirt or hoodies, or even backgrounds! This weird and ugly font likes an experiment with spacing and different deformation. Please, don't hold back on your bold modern ideas! Features : - Lowercase & Uppercase ( All Caps ) - numbers and punctuation - Ligature - multilingual - PUA encoded Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you

Spinnenkop is an old Dutch word which means both ‘spider’ and (in dialect) cobweb. The word forms the basis for that English word: cobweb. Spinnenkop is a magical font. I didn’t use witchcraft to create it, but when it was finished, it reminded me of old fairytales, spell-books and potion recipes. Use it for anything you like, but book covers, product packaging and posters come to mind. Comes with a few swashed letters and a weird alternate g.

Pargrid is a grid-based typographic experiment from the young Swiss designer Michael Parson. In the Pargrid family, which contains three separate weights, Parson has created an intriguing system of small circles-similar to LED's or light bulbs-that live separately on a grid, creating unique letterforms. In small sizes, these circles blend together to create seemingly fluid lines, giving Pargrid's letters a wide, rectangular appearance. In larger sizes, the letterforms transform themselves into objects d'art-virtual and ordered communities populated by various points. Fantastic in both display settings as well as short strings of text, Pargrid may offer the exact look that your next project is looking for. Pargrid and nine other constructed type designs from Parson are included in Take Type 5 collection, from Linotype GmbH."

Boho is inspired by a bohemian girl who is a free soul and creative spirit. She is a city girl, but she loves spending a lot of time outdoors and being close to nature. She loves art and going to the antiques and organic food markets. She is a wild and free spirit who knows no bounds. Boho is Coto Mendoza’s first Script font family, which is based on gestual calligraphy with Cola pen. A first exposure to gestual strokes applied to font design can be seen in her previous work, Macarons. Boho consists of 4 subfamilies: Script, Line, Sans and Serif. Each subfamily comes in 4 weights: Regular, Bold, Italic and Bold Italic. Script and Line versions include a teardrop terminal variant. Dingbats and ornaments are also included. Boho. Love and creative spirit!