The other day, I ate an orange - and I absolutely love oranges! This one was perfect - juicy, sweet and crispy in a very delicate way. This font is also juicy, sweet and crispy and on top of that, organic and handmade!

Designed as a companion to Autofont, this dingbat set was originally developed for What Car? magazine, the UK’s leading automotive consumer title. Use in charts and reviews to indicate metallic paint, shatterproof glass, number of airbags, manual or auto sunroof, etc.

LD Buttercream is such a great font...it mimics the look of a frosted remembrance on a birthday cake...but it's uses are so universal and fun, you'll find many ways to put this font to work in your clever creations!

Aventura is burlesquely round, stylishly seductive, eternally sugar-fixed, and loving to a fault. Plenty of stylistic alternates are included to heighten the mood or soften it. Either way you look at it, there's a lot of love in the air.

Tenison is a semi-formal script which echoes the way the designer was taught to write in school. It is not overly decorative and it is highly legible. All lowercase characters link with each other, just as we were taught.

SK Bade is a demi serif and condensed font. It was designed by Salih Kızılkaya in 2020. This is a completely decorative font, but legibility is at the forefront. In this way, it can be used easily in long texts.

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!

This naïve script was discovered in a French printers' magazine from 1927. Its total lack of pretension makes it warm and inviting. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

This font was inspired by the swirling steam drawn on a chalkboard at a coffee shop. Not actually a script font though it has a similar feel. This font dances and twirls the way a wisp of smoke or steam would.

Sumida is a special ward in Tokyo AND the river running through the city. Sumida script is a nice, handwritten font, which was made using a sharpie pen. Sumida Script comes with double letter ligatures and an extensive language support.

Infidel is based upon letterforms from the Lindisfarne Gospels and other manuscripts and bibles from across the Middle Ages. These are wonderfully idiosyncratic forms; some beautiful, others unsightly, but all far away from what we recognise as legible letterforms, today.

In the 70's I went out with a girl whose father was a card-carrying member of 3 of the biggest unions in the printing arts. He gave me 2 things, a pre-war Linotype specimen book and an ancient 'how to' lettering book that contained 30 or 40 script specimens from lettering artists of the time. Tiamaria is the developed glyphs of one of these specimens. Tiamaria is the name of one of the islands in the Galapagos chain.

Senkron is composed of "normal" and a "blok" styles. Senkron ("normal") was designed as a pure and modern neo grotesk font. The anatomy of the letters are designed to achieve an equal text color. For this purpose, the legs of the letters “R” and "K" are designed with a vertical angle to prevent the white space that would occur in the middle of these letters. In the minuscule, the characteristic features of letters such as ‘a’, ‘l’, ‘t’ are concretized and legibility is supported in the text. Considerable attention has been paid to the harmony between the anatomical structures of the letters and the diacritical mark’s structure. Senkron Blok is arranged for situations which have diacritical marks overflow to leadings of the headline and headline typographical color is affected negatively from this situation. For this purpose, majuscule diacritical letters are resolved within the letter height. However, when this is done, new forms are obtained by integrated diacritical marks with letters instead of directly merging them. The idea behind this approach is to preserve the typographic value of diacritical marks and emphasize the semantic value of diacritical letters. 82 letters have been redesigned in this way.

Hawaii Summer is a fresh and playful display font, designed to bring a unique style to your projects. Its natural look makes it perfect to be integrated into exotic environments, thanks to the warm vibes that its lines transmit. It is suitable in multiple situations, like for: food and beverage, bar signs, packaging, t-shirts, flyers, magazines, posters, ad campaigns, social media, banners, etc... Stylistic alternates are included for letters: “m” to be the inverse of “w” and thus be more symmetrical, for example, if a logo design requires it “p” and “r” with a slightly decreased contrast to appear neater, especially for big size text like headlines Hawaii Summer supports multiple languages to be tourist-friendly ;) Get ready for the summer!

With Royale, Resistenza reinvented the bifurcated Tuscan genre in a contemporary, warm and playful form. Now our aim was to complete this decorative family with an italic version of the font. Rounded terminals, fabulous fancy fun spurs with elegant and extravagant flourishing - Royale italic comes in 8 weights which can also be layered to create polychromatic effects in another nod to the Victorian era these styles were popularised. While inspired by days gone past this Royale is far from a revival as unlike the classic Tuscans which inspired its structure Royale is monoline and sophisticated in its simplicity. Perfect for display and emphasis, Royale will command attention and leave a memorable impression wherever it is used. Check out also Royale

Warning: works with contextual alternate-feature, which is not showing here. Covergirl is a script typeface that works all by itself. It has a very high contrast, but works also in smaller sizes. It is a display typeface. Covergirl is based on handwriting. The basic shapes are transformed to a very high contrast strict form and the hairline runs through the words in an amusing lively way that simulates the writing by hand. Its scandinavian designed handwriting, decorated, but also very minimalistic. While writing the letters will be substituted by one of the variations of the letter, that will make sure that the letters connect well. When writing in only UPPERCASE a much more simple letter shape will substitute the default.

I was in a bit of a gloomy mood just before I created this font. I had no inspiration whatsoever (which always affects me in a bad way). I was trying to create a font using broken satay skewers, as using those gives the letters a unique look. I broke about 25 skewers and they all broke ‘the wrong way’. Yes, it’s pathetic, I know, but that’s how it is. I decided to go to the gym and do a little workout, hoping my dark mood would pass. When I came back, I broke one more skewer and lo and behold, it broke exactly the right way! I made this font in one go, using that fantastic skewer and lots of Chinese ink. Darkness Rising comes with all the diacritics you’ll need, plus double letter ligatures and some cool underlined alternates.

I was listening to the radio and a song caught my attention. It was ‘Demagogue’ by a band called the Urban Dance Squad. That song brought back memories from when I was a student, so I decided to name this font after it. Demagogue was made using a Sharpie pen and a piece of expensive paper. The result is a very legible, very neat and very bold font. Demagogue is ideal for when you want to get your message across, but hopefully not in a demagogue-ish way! ;-)

Years ago the company that developed Fontographer marketed a program called Font-o-Matic, a program that distorted fonts in various ways. 99% of what it produced was garbage, but every once in a while it would yield something interesting. Since I had designed a lot of typefaces by that time, I had lots of material to feed it and it was fun to see what it produced. YahoschWormy is one of rare results that was interesting enough to save and clean up. The source font was Yahosch.

LiebeDoni is pure Italian art. A contemporary nod to Italian typographic heritage, LiebeDoni’s warm and friendly style is perfect for—literally—bold headlines and impressive invitations. Take a seat on LiebeDoni’s Vespa and enjoy the sweet curves of dolce far niente. But don’t let the relaxed hand-crafted appearance fool you: You’re dealing with a solid quality typeface that has received painstaking attention to detail. Round like the Colosseum, some lines are as colloquial as the Tower of Pisa—but all this with almost Teutonic obsession for technical perfection. Feature-wise, we went the full quattro stagioni: Variations and alternatives for many letters, swashy initials and swirly ligatures—plus language support that goes way beyond English and Italiano. Double-o ligature, anyone? Two different www ligatures? Check. (Please make sure your software supports OpenType if you wish to use the advanced features.) Get both the outline and the filled version and go crazy on creative layering and endless possibilities. Each font contains over 600 glyphs and both contain the full character set. Make a bold move to italy—treat yourself with this font. If you like LiebeDoni, you may also like its perfectly matching sisters LiebeErika and LiebeOrnaments—or any of our other 100% compatible LiebeFonts.

Dossier is a monospaced serif face that originates in Dwiggins's designs for typewriter. It has a soft and casual personality and comes in 8 weights and matching italics, making it ideal for text typography, package and advertisement design. Dossier is an adaptation of William Addison Dwiggins's unfinished typewriter faces. He worked with multiple typewriter manufactures including Underwood, Remington Rand, and IBM, but none of them were finished. He left a number of intriguing drawings which are now kept at the Boston Public Library. You could see in the drawings that Dwiggins was also interested in exploring designs of varied width. Toshi Omagari decided to combine these materials to make a cohesive family: the upright was taken from a drawing of monospaced lowercase for an unknown client, and the italic was from the work he did for Underwood which he called "Aldine". Toshi added narrower and wider alternates in the same way Dwiggins devised.

Introducing the lovely new Mottion Fashionable Calligraphy Font! Mottion was built with OpenType features and includes beginning and ending swashes, numbers, punctuation, alternates, ligatures and it also supports other languages :) Installing Your New Font: This font can be installed in all software that can read standard fonts. Accessing the swashes / opentype features / glyphs: In order to access the alternate characters in this font, you need a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CS, or Adobe Photoshop CC. More Questions? Here are some (potential) answers! Fonts are allowed to be used in templates for sale through separate servers such as Templeet, Corjl, etc. with the purchase of the CORPORATE license. Any time the end-user (your customer) edits a product for sale with this font, the corporate license needs to be purchased. Commercial use for this font is allowed for unlimited projects! You are not permitted to resell this font in any way.

To start with one personal fact: I really like to listen Rahsaan Roland Kirk. He was a multi-instrumentalist, real grandmaster and unique jazz virtuoso. The way he improvised and walked through variety of different music influences are admiring. One of things he liked is to modify instruments, so he modified soprano saxophone and got an instrument called manzello. When I was looking for good name for this typeface, it came on my mind that Manzello could be the perfect one. It has the symbolic background from the instrument and theoretically in my head, it's imagined as typeface that rely on stable classic examples, but graphically designed and modified to match modern standards. Manzello contains a dose of characteristics of display typefaces with terminals that aren't perfectly rounded, high contrast between stems and good balanced Italics with elements of fine calligraphy. It's a small font family, something what I was always looking for to have as first text solution in my web and graphic projects.

Periódico (newspaper in Spanish), was originally commissioned by the Spanish daily newspaper ABC. Inspired by old Spanish typographic engravings, mostly from the second half of the 18th Century, we picked out the most relevant details of Spanish typography as the source of that inspiration, and instead of making a revival or an interpretation of these models, we started from scratch to create a truly original font family. The goal was to achieve a very distinctive family, functional and versatile at the same time, and reminiscent of old Spanish typography. Although we have borrowed many details from the old Spanish typography, like the nail, which is present in the letters U, G, or J, which we worked and evolved in order to be applied on other letters, we have also left behind several others. One example is the tilde of the ñ engraved by Gerónimo Gil, a very distinctive element of Spanish typography that was intentionally omitted for being too atypical to be used in a contemporary font.  The letters a and g are probably the most distinctive of the Periódico family. The shape of the bowl in the letter a, with the top arch in diagonal position, is very characteristic of old Spanish types. In Periódico, we emphasized this detail by applying it to many other letters (such as g, j, and t) up to a point that it became the leitmotiv of this family. The formal finish of serifs and terminals is something that gives great personality to any typeface, so we came up with plenty of alternatives in order to find the exact shape we wanted: sober, elegant, and contemporary. Even though the serifs are geometric, the upper terminals have a curve with a dynamic very similar to the arch in the a or the notch in the j. The terminals in the capitals follow the same style, but, in this case, the inspiration comes from Pradell’s Missal, which on the other hand has been influenced by the types engraved by Johann Michael Fleischman in the Netherlands. Eighteenth-Century types were mostly used for printing books. Therefore, they had very generous proportions (large ascendents and descendants) and high contrast, but today, these characteristics do not work well in newspapers because of the worldwide demand for more space-saving fonts. The adaptation of the type’s proportions to be used for a newspaper was one of the most interesting parts of the project, specially the time taken to find the perfect balance between the x height\ and legibility. Periódico is presented in 30 different styles, for a total of 30 fonts—10 for text (from Light to Bold) and 20 for display sizes (from Thin to Ultra Black); this family results in an extensive system capable of solving all the needs of a large publication.

ITC Silvermoon was designed by Akira Kobayashi in the style of the advertisements of the 1920s. Art Deco was the artistic movement which marked the years between the two world wars, combining elements of Jugenstil, futurism and east Asian influences. This font carries on in that tradition. The small, high reaching figures with their elegant forms and reserved but distinguishing loops give Silvermoon its unmistakable look. Kobayashi designed this font in two weights, regular and bold. To retain the elegance of the bold weight, the consistent stroke width of the regular weight was exchanged for contrasting strokes. This gives the weight more weight without detracting from its grace. The nostalgic, romantic ITC Silvermoon is best used for headlines and short texts in point sizes of 12 and larger.

Say hello to GOTCHA! A versatile new marker font with bounce and vigor and a a super-sexy-casual vibe! The Gotcha fonts are incredibly versatile , from street urban, to styled fashionista, to hearty food branding - whatever the weather, Gotcha! has you covered :) Gotcha! comes with a set of alternate upper and lower case letters, and a second set of lowercase letters - this way you can write one word in a million different ways - and keep things ultra natural looking. A comprehensive set of double letter ligatures are also included. Gotcha! also comes with an “Extras Font” which include textured swashes and splatters/grit to add some pizazz to your design.

Life was designed in 1964 by W. Bilz and marks the beginning of a new generation of newsprint fonts. The Ionic style had replaced Modern Face and was now replaced by this new innovative style, which mixed elements of Old Face, Transitional and Modern Face forms. Life’s characters are based on the forms of Times and are the result of a time of change and experimentation.

Cozy up with a warm cup of Latte! This friendly typeface uses the highest quality hand-roasted glyphs blended with some wonderful rounded serifs and ball terminals to create a bold, earthy flavor that can't be beat. Available in 14 robust styles, including true italics, Latte is a great way to give your next project a warm, friendly, and natural feel. You’ll pick up on subtle notes of OpenType features like stylistic alternates (on 41/52 Latin characters+diacritics), fractions, ligatures, oldstyle and lining figures, and more. Latte is the perfect ingredient to bring a kind, peaceful feeling to your next project.

SK Merih is a geometric sans serif and semi-condensed font family. Produced with a clean and modern design approach, SK Merih can be easily used in titles, body texts and many points you may need in design. SK Merih takes its name from Mars. Although Merih is not used today, it is the Turkish equivalent of Mars. SK Merih consists of 12 fonts and 5244 glyphs in total and has multilingual support. In this way, it contains all the typographic elements you will need in your designs. You can visit my Behance account to examine the project images in more detail.

The Quarantinus font was created during the 2020 covid 19 lock-down. Tranquility being all around, the JOEBOB graphics studio almost felt like a monastery, and as a result my style of writing and my choice of pen had to fit. All this writing was turned into an authentic handwritten script font with over 150 ligatures, which make it look very credible and spontaneous. The font is especially suitable for personalized 'handwritten' notes, cards and messages. It can be used on T-shirts and on shop-windows. It has an 'instant logo' quality, it can be used for tattoo-designs and it screams home-made everything. And in case you are a writer you now have an option to print your work in a way that seems as if you wrote it yourself. Please note that even though the font comes with a complete set of Western characters, accents and special signs, the Cyrillic and Greek characters that are in the font do not make a complete set.

Both fonts of the Remus family are complete redesigns of turn-of-the-century fonts. The regular style is based upon an inhouse design of Schelter & Giesecke in 1889, called Romanisch. This font was adopted by other German foundries and slightly modified and a bold version was added. Due to their proportions, these fonts fit perfectly into narrow columns, and still they are very legible. In January 2023, an Italic style was added. Here too it is recommended to use both ligature features Standard and Discretionary.

Freaky Prickle script was written using ink and various wooden sticks and digitized/ Autor’s target was to create the spontaneous, light, flying script with dynamics and energy at the same time. Upright and cursive styles are available. The type was planned for use as headline in fiction and display matter.

Aeogo is unique font, the form was made are different like as usual. we made it include a pixel style font

Auchentaller was inspired by a travel poster by Josef Maria Auchentaller in 1906. To our knowledge, it was never cast in type. Grado lies on the northern Adriatic, between Venice and Trieste. At one time the port for the important Roman town of Aquileia. With the decline of the Roman Empire, the upper Adriatic region came under the rule of the Visigoths, the Ostrogoths, the Byzantines, the Lombards, the Franks, the Germans, the Venetians and finally, in 1796, the Austrian Hapsburgs. So it remained until the dissolution of the Austro-Hungarian Monarchy in 1919, following World War I, when the seaport of Trieste was awarded to Italy. With Trieste came Montefalcone, Aquileia and Grado. The area was marked by years of political tension between Italy and Yugoslavia, exemplified by the d'Annunzio expedition to capture Fiume (Rijeka) in September, 1919. Some basic discussion of the period from 1919 to 1939 may be found in Seton-Watson’s Eastern Europe Between The Wars (Cambridge 1945) and Rothschild’s East Central Europe Between The Two World Wars (Seattle 1974). In 1965 I was traveling by train from Venice to Vienna. Crossing the Alps, the train stopped for customs inspection at the rural Italian-Austrian border, just above Slovenia. We were warned not to get off the train because there were still shooting skirmishes in the area. Through all this, Grado remained literally an island of tranquility, connected to the mainland by a only causeway and lines on a map. Auchentaller not only painted the beach scene at Grado, he moved there, living out the rest of his life in this comfortable little island town. His travel illustration contains the text from which the design of our font Auchentaller is drawn. The text translates: "Seaside resort : Grado / Austrian coastal land". Please see our gallery images to see a map locating Grado, as well as Auchentaller’s painting of the resort. Auchentaller is a monoline all-cap font, light and open in design , with a lot of typically art nouveau letter forms. Included in our font are a number of ligatures. As is frequently seen in designs by German speakers, the umlaut is embedded in the O & U below the tops of the letters. This approach led to two whimsies: a happy umlauted O and a sad umlauted U. This font has a clean, crisp look that is very appealing and very distinctive. Auchentaller ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 336 glyphs. 2. Added OpenType GSUB layout features: pnum, liga, salt & ornm. 3. Added 116 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised ‘J’. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. 8. Inclusion of both standard acute and Polish kreska with choice of alternate accented glyphs for c,n,r,s & z. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

“The Auto Show” is the title of an early 1900s pieces of sheet music proving that America has had a fascination with cars since the earliest days of the automotive industry. The song sheet’s title was hand lettered in a casual Art Nouveau style which has been re-drawn digitally as Nouveau Auto JNL, and is available in both regular and oblique versions… and what’s better than a nouveau auto (a new car)?

Multicolored Fonts Many years ago, when Xerox Corporation still had its own font department, I came to Los Angeles in 1985 to train the IKARUS program. One day Bill Kienzel, head of the Xerox font department at the time, said we should go to the Hollywood Hills together; he knew people there who were experimenting with multicolored fonts. After a little wandering through the winding streets of the many hills, we reached a somewhat overgrown, simple family house standing under trees. A group of very inspired designers were waiting for us there. They immediately showed us the works they created using photomechanical tricks. They were fascinating. The American colors and the whole look seemed noble and enchanting. The problem was that this process was very difficult to implement and required a lot of effort on individual letters. They dreamed of a colored font that could be used for normal typesetting. We thought back and forth about how to save the individually colored letters in a common font, but soon gave up because we didn't see a technical option. So this idea and the memory of the time in Hollywood lay dormant in the back of my mind for many years, until at the beginning of this year 2023 I received an order to produce an outline typeface and the story came back to me. Suddenly I knew how to solve the problem from back then: if only the areas that should have the same color in all letters were saved in their own separate fonts, they could be colored independently of each other and later placed on top of each other. I implemented this in the 5 fonts that are now available with the 3 variants “Outside”, “Middle” and “Inside”. Together with the background, 4 colors can be combined with each other. This method works in text programs such as Word or InDesign. In Photoshop or Illustrator, the individual surfaces can also be colored by converting them into paths if the additional “Complete” variants (which contain all 3 contours) are used. There is also a “Basic” variant that can be used to achieve special effects such as overlay, bleed, etc. The first 5 fonts in this series are all based on the principle of contouring. Anyone who claims that you don't need any special fonts because they can be created automatically from any font using common programs is wrong or is only telling only half the truth. Anyone who has ever dealt with this knows that many individual adjustments to the design are necessary after contouring. This has happened in the 5 fonts that are now available and have very different styles. The dream from back then has come true. The user can set any text, long or short, in multiple colors, freely design the color scheme and apply all the usual typographic settings. Volker Schnebel, November 2023