This hand-written, whimsical font features a cute hand-written print with no descenders and added ooze dripping throughout.

Wasted Youth: A 90s Grunge Inspired Brush Font by Wingsart Studio Wasted Youth is a versatile brush font with shades of grunge, punk and horror. The font comes in three styles including a clean-edged original, plus two additional versions drawn with inky brush and marker pen. It takes inspiration from 90s grunge bands, with a hand-made punk aesthetic that’s equally at home in music videos, album covers, horror movies and skate culture. It aims to combine the best of these popular looks into one versatile font. Along with its unique uppercase and lowercase characters, Wasted Youth also comes with a host of custom ligatures, underlines and alternatives, along with numerals, punctuation and language support. It’s a truly flexible font that can be shaped into titles and headlines that look authentically hand-made. Try it on t-shirts, posters, stickers, movie titles, YouTube videos and more! Check out my visuals to see it in action.

FM Christmas 3.0 consists of 26 hand-lettered Christmas greetings. All the words and phrases are original and handwritten - a high quality calligraphy for your holiday projects. Check our portfolio for the rest of our Christmas collection and more holiday related hand-lettered fonts.

FM Christmas 2.0 consists of 26 hand-lettered Christmas greetings. All the words and phrases are original and handwritten - a high quality calligraphy for your holiday projects. Check our portfolio for the rest of our Christmas collection and more holiday related hand-lettered fonts.

FM Christmas 1.0 consists of 26 hand-lettered Christmas greetings. All the words and phrases are original and handwritten - a high quality calligraphy for your holiday projects. Check our portfolio for the rest of our Christmas collection and more holiday related hand-lettered fonts.

The title card “Airplane Hydraulic Brakes” in the beginning of a WWII armed services training film had the words "hydraulic brakes" hand lettered in an Art Deco slab serif style. This served as the model for Training Film JNL, which is available in both regular and oblique versions.

Sheet music for the 1923 tune "I'm Sitting Pretty (In A Pretty Little City)" had the main part of the title hand lettered in an Art Nouveau condensed Roman type design which became the inspiration for Sitting Pretty JNL. The typeface is available in both regular and oblique versions.

A 1911 movie poster for a film called “How Bella Was Won” from the Edison studios had the name “Edison” hand lettered in a bold, spurred sans serif design. These few letters became the basis for Movie Show JNL, which is available in both regular and oblique versions.

A vintage Canadian-published music book circa the 1940s had the title "Strauss Waltzes" hand lettered in a bold Art Deco sans serif that featured block style letters with rounded corners. This was the working model for Formal Dance JNL, which is available in both regular and oblique versions.

A vintage booklet from the Japan Tourist Bureau entitled "How to See Matsushima and Environs" had the title hand lettered in the Art Deco style which is the basis for Travel Brochure JNL. For those who prefer a more traditional 'E', it is located on the broken bar keystroke.

Yaa! Type is a hand-sketched headline font. The family contains a light and bold weight; both complement each other perfectly. Created solely by me from sketch by hand and then digitized, yaa! Type makes a perfect font to create the hand-made character look, or to supplement illustrations with typography.

I spend a lot of time following two obsessions: packaging and hand lettering. Alongside a few other minor obsessions, those two have been my major ones for so many years now, I've finally reached the point where I can actually claim them as “obsessions” without getting a dramatic reaction from the little voice in the back of my head. When you spend so much time researching and studying a subject, you become very focused, directionally and objectively. But of course some of the research material you run into turns out to be tangential to whatever your focus happens to be at the time, so you absorb what you can from it, then shelf it — like the celebrity bobblehead that amused you for a while, but is now an almost invisible ornament eating dust and feathers somewhere in your environment. And just like the bobblehead may fall off the shelf one day to remind you of its existence, some of my lettering research material unveiled itself in my head one day for no particular reason. Hand lettering is now mostly perceived as an American art. Someone with my historical knowledge about lettering may be snooty enough to go as far as pointing out the British origins of almost everything American, including lettering — but for the most part, the contemporary perspective associates great lettering with America. The same perspective also associates blackletter, gothics and sans serifs with Germany. So you can imagine my simultaneous surprise and impatience when, in my research for one of my American lettering-based fonts, I ran into a German lettering book from 1953, by an artist called Bentele. It was no use for me because it didn't propel my focus at that particular time, but a few months ago I was marveling at what we take for granted — the sky is blue, blackletter is German, lettering is American — and found myself flipping through the pages of that book again. The lettering in that book is upbeat and casual sign making stuff, but it has a slightly strange and youthful experimentation at its heart. I suppose I find it strange because it deviates a lot from the American stuff I'm used to working with for so long now. To make a long story short, what’s inside that German book served as the semilla, which is Spanish for seed, for the typeface you see all over these pages. With Semilla, my normal routine went out the window. My life for a while was all Bezier all the time. No special analog or digital brushes or pens were used in drawing these forms. They're the product of a true Bezier process, all starting with a point creating a curve to another point, which draws a curve to another point, and so on. It’s a very time-consuming process, but at the end I am satisfied that it can get to pretty much the same results easier and more traditional methods accomplish. And as usual with my fonts, the OpenType is plenty and a lot of fun. Experimenting with substitution and automation is still a great pleasure for me. It is the OpenType that always saves me from the seemingly endless work hours every type designer must inevitably have to face at one point in his career. The artful photos used in this booklet are by French photographer and designer Stéphane Giner. He is very deserving of your patronage, so please keep an eye out for his marvelous work. I hope you like Semilla and enjoy using it. I have a feeling that it marks a transition to a more curious and flexible period in my career, but only time will tell.

Bodoni Ferrara™ Fashionable, Luxury Heritage: The Original Bodoni Ferrara Sculpted from hi-res photos and scans of Bodoni's original Ferrara Font—his 1818 Manuale Tipografico and 1768 specimens. It has never before been available. This cut of Bodoni specially selected by Dave Lawrence from rare book specimens. Part of the California Type Foundry Origin Series. 3 Display Fonts in One!! And 6+ style mixes. Bodoni's 1st Draft - Transitional Serif Bodoni was often inspired by French type designs. His first draft of Ferrara was inspired by Pierre Simon Fournier. But Bodoni added his own Italian sensibilities. Bododni’s first, transitional style can pair with humanist sans, and transitional fonts. Bodoni's Rework - Modern Serif Later, Bodoni reworked Ferrara to match the later neo-classic style or modern serif of Firmin Didot¹. Bodoni’s modern style can pair with geometric sans, grotesque sans, neo-grotesque sans, gothic sans, copperplate script, . Informal On™ - Informal Mode by CAL Type Foundry This can pair with “infant” fonts. Geometric sans, and other sans or serifs with one-storied a’s. + Bodoni’s Tivoli a for another option! Works great with Fournier¹ fonts and grotesques, since the terminals will match. Font Pairing Guide This font includes a 78 page Ferrara Pairing Guide. This book shows you 131 pairings with text fonts. 47 pairings with subheader fonts! We want to help you get more out of your font collection. Design Features • Subtle forward angle (0.5-1.5°) makes Ferrara more lively and engaging than most Bodoni or Didot fonts. • Round curves make this font feel letter-pressed. • Bodoni's original tall x-height and slightly condensed proportions: great for headlines, where space is at a premium. • Better uppercase. Uppercase punctuation for design apps. • Proportional oldstyle and lining figures, both modern style and transitional numbers. Every pair of numbers is kerned for display sizes: no unsightly gaps! • Multiple special symbols for whenever you need a design to pop, including 3 of Bodoni’s amazing ampersands. Language Features Latin standard for western European and other languages. +Advanced support for: German, French, Spanish, Portuguese, Italian, and French. Special, uppercase umlauts for titles! Compare to metal Bauer¹ Bodoni! Special context kerning for French, Spanish, Portuguese, Italian, and French, to allow better better words like L'Angelique & “¿Nosotros?”. This kerning gets rid of unsightly gaps between “¿ and other combinations. Can’t Find the Pairing Guide? Can't find the pairing guide? Google “California Type Foundry” and grab the pairing guide. Get another free pro font while you’re there! Ferrara: many sizes, styles, moods and situations. It's a classic, fashionable font for display, headlines, and titles. Grab Ferrara today! ----------- ¹Trademarks of their respective owners. Ferrara™ is a trademark of the California Type Foundry.

Every year, more and more text is read directly on a computer screen in office applications, or from freshly printed sheets from a copier or laser printer. Clear, legible text faces are more imperative to office communication than ever before. Yet every worker desires a small bit of personality in the corporate world. Most office environments are only equipped with a few basic fonts that are truly optimized for use in text, with laser printers, and on screen. The Linotype Office Alliance fonts guarantee data clarity. All of the font weights within the individual family have the same character measurements; individual letters or words may have their styles changed without line wrap being affected! All numbers, mathematical signs, and currency symbols are tabular; they share the same set character width, ensuring that nothing stands in the way of clear graph, chart, and table design. In addition to being extremely open and legible, the characters in this collection's fonts also share the same capital letter height and the same x-height. The production and reading of financial reports is duly streamlined with the Linotype Office Alliance fonts. The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years. After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype's Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text. The other three families in the Office Alliance system include Metro Office, Times Europa Office and Trump Mediaeval Office.Some weights of the Neuzeit Office are availabla as soft rounded versions. "

A couple of weeks ago, I found my ink well, which I thought I had lost. I decided (there and then) to create a bunch of inky brush fonts, which resulted in Dirrrty and Scrawny Cat. And now, needless to say, Garden Bed. It is named after a strophe from one of my favorite Soundgarden songs: Just Like Suicide. Garden Bed is a hand made didone-ish font, with a very irregular baseline, some interesting glyphs and a secret garden filled with diacritics.

I bought something online, but when I received it, it wasn’t exactly what I had hoped it would be. So I read the return policy and sent it back. And… came up with this font and its name in the process! Return Policy is a hand drawn slab serif, inspired by a bunch of slab serifs from the early 20th century. Return Policy has been given a ‘grunge’ overhaul, making it ideal for sturdy products, websites with an industrial look and manly posters.

The other day I was at a market with my kids and they had this really retro kind of circus thing. The signs and posters there, were designed in a really sloppy and poor manner - but they all had a lot of naive charm! I was really fascinated by all these uneven letters and I was immediately inspired to do a font like that! And out of the magic hat comes...ta-da-da-da...Cirkus Fantastiko! Planning on throwing a party with a circus theme? Then Cirkus Fantastiko is ready to play the juggling clown while riding the elephant! Play around with the 3 different layers to create that low budget hand painted cirkus posters! :)

Twokeymonth is a A hand lettered font with quirky style. It is perfect for branding, signature, wedding invitation, promotion, product packaging, and other needs. You will get full set of lowercase and uppercase letters, numerals and punctuation, multilingual symbols that giving realistic hand-lettered style. Thanks and have a wonderful day, Haksen

The hand lettering found on the cover of the 1912 sheet music for "Somebody Else is Getting It" featured a blockish Art Nouveau style with rounded corners and a very lurid title [although it likely had a more innocent meaning in those days than the casual observer might interpret today]. Now available as Nouveau Standard JNL, it is available in both regular and oblique versions.

A 1910 collection of piano sheet music called “Presser’s Economy Group” had that name hand lettered in a fancy serif lettering style that could fall somewhere between Art Nouveau and semi-calligraphic. No matter the label you attach to the style, it makes for a wonderful digital type revival. The end result is Piano Music JNL, which is available in both regular and oblique versions.

Miniver was inspired by a trip made to the library, looking for new ideas. Immediately gravitating towards the DVD for the 1942 film Mrs. Miniver, the hand-lettered title on the cover had a very contemporary look and feel so, there was the 'springboard' into a new font. First drawn were the inline forms and then they were traced, utilizing a playful 'cutout' effect.

I have always enjoyed this typeface and have had fond memories from the time I originally drew its predecessor, Kari. Now with almost 100 new ligatures, alternate and swash characters, Kari Pro has a great deal more personality and versatility. Subsets from the original Kari have been integrated into each unified weight adding both lining and hanging (oldstyle) numerals as options as well.

Introducing Windgard - A Clean Brush Script Windgard inspired by hand lettering brush style that moves in clean, make with perfectly horizontal vertical bezier handles. Each glyph has its own uniqueness and when meeting with others will provide a dynamic and playfully. Alternate characters has 6 set (Contextual Alternates, Stylistic Alternates, and ss01-ss04). In addition to the purposes of logotype Windgard Font can also be applied in the esport logo, sticker, apparel, bag, magazine, website headlines, packaging, branding, quotes, business cards, and more. We hope this can make inspire for your work.

Danielle Smith describes her friendly, hand-drawn typeface family, available in roman and italic, as ‘non-élitist and accessible’. Originally created for a theatre project at Massey University, Dandy is reminiscent of Pablo Ferro’s hand-lettering.

Opal Pro is a text family designed by Hannes von Döhren in 2008. It gives every text a noble character. The typeface has long ascenders that clearly rise above the capital letters and a low x-height. Opal’s letters sport inktraps at stroke junctions, which on one hand create a cutout feeling and on the other hand strengthens the image in larger point sizes. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to the Italic and Bold, the Opal type family includes a Script face, whose letterforms include connections, similar to handwriting. On top of that, the typeface possesses swash letters for italic and script, small caps, many ligatures and borders & ornaments. With a little bit of care, designers will be able to create the finest of traditional, elegant work with this family.

Ecriture Hand drawn Font was born from original and hand-drawn style font. This font gives a feel of classic, old, handmade look. Already PUA Encoded, and I think this font is perfect for people looking for an aesthetic or hand-drawn logo. Suitable for graphic designs such as branding materials, t-shirt, print, business cards, logos, posters, t-shirt, photography, quotes and more. What Advantages? Simple installation Multilingual Support with Accents PUA Encode Support for MAC and PC

A bulky and personal hand written script font. And an ode to my home town!

Poacher is a hand-drawn font inspired by the popular Hand Of Sean font, by the same designer. It has a looser, fun feel and is great for applications aimed at children. Great for kid’s books, classroom hand-outs, annotating sketches and notebooks. Great for use on natural, organic food / product packaging.

Baro is a powerful, fun and expressive font, great for loud, cheerful and super-fat headlines and packaging for odd novelty toys. With its bold and distinctive stylized geometric forms, it is ideal for logos, heavy machinery and wacky party invites. Baro had its beginning in a handful of rigidly geometric uppercase letters from an unidentified 1960�s or 70�s era press-down lettering font, which in turn was possibly a revival of a 20�s era Art Deco font. The exercise quickly expanded into a complete typeface with 300+ characters, including several catch words (word glyphs), stylistic alternates, discretionary ligatures, multilingual support and both lining and old style numerals. Baro maintains much of the characteristic geometric rigidity of the original handful of letters, but � With the addition of just a little bit of flare, a bit of cheerfulness breaks through, like a wink and a smile on the face of a fat and otherwise stern policeman.

The overthinkers is a semi script hand lettering font for all of your hand lettering designs! With two sets of uppercase glyphs, three sets of lowercase and over 230 ligatures no two words will be same! So your designs will truly look hand lettered. With so much choice be careful not to overthink your designs ;). This font is perfect on it’s own or you may like to use it with your existing hand lettering fonts. Go ahead and try it out - it’ll compliment any design! It’s perfect for merchandise and food packaging, book designs, logos and much more.

Linotype Colibri is a delightfully playful display face, from the award-winning German typeface designer Hans-Jürgen Ellenberger. Linotype Colibri's letters dance up and down across the baseline, and appear as if they had been drawn quickly and whimsically with a felt tip pen. The design is available in two weights: Light and Regular.