Display Haphazard is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Haphazard has an uppercase alphabet located under the character set keys and a full set of alternate uppercase characters located under the character + shift keys. It also has numbers with alternates, and punctuation.

A circa-1925 poster for the chanteuse Arlette Montal, signed simply "Bouchard," provided the inspiration for this roly-poly romp through the alphabet. It takes its name from a popular East Texas summertime porch dance...or not. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Grim is a display family with a lot of room for application, most obvious being the tightly fitted headlines with impact. It works especially well as a counterpart to a serious, refined serif font. Each family member comes with a set of useful pictograms: arrows, triangles, hands, smilies and a heart. Best suited for poster and editorial usage.

Ms. Augustine is a light, lovely and modern calligraphy font with sophisticated flows. This beautiful script particularly well suited for wedding invitations, save the date cards and feminine branding. Ms. Augustine includes full set of Uppercase and Lowercase Basic Characters, Numbers and Punctuation. Also it contains a lot of stylistic alternates to perfectly re-create natural calligraphy.

Surf's Up! Head on down to the Barrier Reef with your favorite board, your latest pair of Oakleys and join us where the waves break. Zip up your wetsuit and be prepared to Wipe Out! On the other hand, if you'd rather not get wet, simply install this font and experience similar results. Splashdown is totally tubular, dude!

Logotype Frenzy is a display typographer’s guilty pleasure. It’s one of the very few fonts ever made that can take intense abuse and still look natural. It comes with over 1000 characters, including a lot of alternates and extended language support. In OpenType savvy applications, some letter combinations are automatically replaced with ligatures for a more natural look.

F. O. T. R. is experimental sans serif display font. Space travelling is near so I decided to bring you a brand new typeface based on insight into the future. Clean shapes, a lot of atypical alternates and the futuristic appearance. F. O. T. R. typeface is conceptually connected with a chronophotography project FUTURE OF THE RHYTHM.

I’ve never been one for zombies and all that. I did watch a couple of seasons of The Walking Dead, but after the 2.000.000th zombie got whacked, I had enough. When I made this font, it gave me a zombie feeling. One thing I learned from watching TWD was that zombies are always hungry. There you have it!

I must admit that I am not a big fan of the Art Nouveau style. However, I found this particularly beautiful alphabet and decided to use it as the basis for this new font. Very graceful, elegant, and dare I say, organic. Includes some intertwined ligatures. Complete uppercase, numerals, basic punctuation. Supports most Western European languages.

This is a funky hand lettered font that just begs to be used for coffeehouse promo. It is best when used in sizes above 16 points and is even better when used for posters where it can be printed in giant sizes. It was hand drawn in Fractal Designs Painter with lots of little Doo-Dads.

Grim is a display family with a lot of room for application, most obvious being the tightly fitted headlines with impact. It works especially well as a counterpart to a serious, refined serif font. Each family member comes with a set of useful pictograms: arrows, triangles, hands, smilies and a heart. Best suited for poster and editorial usage.

Introducing Retro Pica, a bold and fun display font. Retro Pica features a bold retro style with many alternate characters ideal for design, such as posters, t-shirts, branding, logos, etc. Retro Pica Lite, with this style, we replaced the uppercase character with the alternate version for those who use applications that do not support open-type features.

The first handwritten font from CheapProFonts - and what a beauty it is! The original font had no diacritics at all, so all have been designed to fit. This friendly looking font is ready to scribble some notes or something. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Looking back on my production to date, neither so little nor so large, it does not come as a surprise to find myself now introducing Lady René. A brief review of my career would read as follows: graphic designer graduated from Buenos Aires University, a 10-year professorship in Typography in the same institution, an illustrator in the making. For almost 15 years now my work has focused on the design of editorial pieces, predominantly books and CD sleeves. Typography proper has always been central to my research projects. All my obsessions eventually embodied as much the search for a perfect, spotless text as for a daring and provoking one. In my view, "how-to-say-something" ranks highest amongst a graphic designer’s responsibilities. It was in this vein that I called in the written word to illustrate, to draw, to narrate. Why not reverse the saying and proclaim that “a word is worth a thousand images”? If so, one single word could trigger endless meanings, associations, ideas, and memories in every reader’s mind. Language, we know, has a strong power and is a living expression of a culture. In my illustrations, letters and drawings reunite in one synergy said and unsaid, the finiteness of the message and the freedom of the free reading. And this is how and when, Lady René, my first born type font sees the light of day conceived out of a love of illustration and a reverence for the written word, recalling the whimsicality of the handmade drawing and reflecting its sensitive, warmth and spontaneity. Enabled by the characteristics of Open Type and the hard, outstanding work of designer Ale Paul, Lady René succeeds in composing texts in a simple, organic way by means of its contextual and stylistic alternates, swash characters, ligatures and connecting words. A bundle of decorative miscellanea completes the set of signs, enabling the user considerable freedom to create new typographic landscapes. Lady René is then prepared, very much like a character in a short story, to come to life in the reader’s mind. I expect you will enjoy her as much as I did creating her. Laura Varsky

Spadoya is a hand brushed font made with brush and ink. This typeface is ideal for use in bold watercolor designs or handwritten styles, such as blog titles, posters, wedding elements, t-shirts, clothing, book covers, business cards, greeting cards, branding, merchandise, etc. Contains full set: - Uppercase - Lowercase - alternative - Ligature - Punctuation - number - multilingual support. And also Spadoya Alternates and Swash, working in tandem with Spadoya Regular to create extraordinary typographic creations. Get inspired by the preview above. How to access all alternative characters, using the Windows Character Map with Photoshop: - https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: - https://www.youtube.com/watch?v=XzwjMkbB-wQ Thank you!

RensGazet is a decorative blackletter typeface with elaborate upper-case letters and condensed lower-case characters. It was inspired by the masthead of a short-lived weekly newspaper, The Rensselaer Gazette, which was published from 1857 until 1860. I could not find any existing digitized fonts that replicated this old typeface, so I decided to create an interpretation of it. I had samples of few letters in large point sizes and a number of others at a small point size, though these were blurry and not sharply defined. As a result, this typeface is undoubtedly considerably different from the original. Also, my spacing is much tighter than that in the source samples.

Wola™, by Franciszek Otto, is not for the typographically timid. It creates vibrant digital headings, banners and navigational links, in addition to commanding print headlines and subheads – but it is not shy, reserved or demure. The design blends the stroke weight stress of Bodoni with the urgency of handwritten letterforms, conveying the energy and immediacy of a design that’s bigger than life – and outside the fence. OpenType® Pro fonts of Wola provide for the automatic insertion of ligatures and alternate characters. These are in addition to a character set supporting most Central European and many Eastern European languages, including Cyrillic and Greek. All this makes Wola a comfortable – if boisterous – world traveler.

Duktus is a script typeface with a 1940’s flavour. It is a delicate script with letters not quite connected, having large, flourished capitals and small lowercase with long ascenders and descenders. It has a crisp, precise appearance, but is not rigidly formal. The design was inspired by the typeface Donatello by Wagner & Schmidt in 1935 and published by Società Nebiolo, Torino. Some other Influences: 1927 Trobadour by Wagner & Schmidt 1927 Liberty Script by Willard T. Sniffin 1933 Trafton Script by Howard Allen Trafton, 1937 Coronet designed by Robert Hunter Middleton Duktus fonts come with plenty of alternates small caps, old style numerals, ornaments and swashes. They include also CE language support.

These six faces are interpreted from examples shown in Rob Roy Kelly's "American Wood Types" They are not merely scanned copies, but have been redrawn from scratch with various optical adjustments. Kelly points out that the true glory of the American Wood Types are the negative spaces, which are, in their dynamic active forms, the antithesis of the anemic flimsy letters produced by type foundries in the 19th century. The Alphabets Wood Types are designed with digital manipulation in mind. Stretch, curve and distort at will! These designs were released prior to similar revivals from Adobe. Each font has two full alphabets (one full height, one smaller) and numerals. However, certain points and accents will not be found.

Beletrio was made as companion to Beletria, it has many shapes in common. We already have plenty of sans-serif fonts with classical proportions in the Stormtype library, such as John Sans, Sebastian or Andulka, but Beletrio is certainly the most peaceful of the bunch – it shares not only the feel of its serif originator, but its soft curves provide lovely visual caress as well. The smooth endings are not visible at first, they are balanced for easy reading as they solve some critical relations such as "rv, ry, rt", but in larger sizes you'll fully enjoy the picturesque details. It handles the smallest point sizes as well as large billboards, fashion magazines and philosophic tractates.

Baby Basley is a hand brushed font made with brush and ink. This typeface is ideal for use in bold watercolor designs or handwritten styles, such as blog titles, posters, wedding elements, t-shirts, clothing, book covers, business cards, greeting cards, branding, merchandise, etc. Contains full set: Uppercase Lowercase Alternative Ligature Punctuation Number Multilingual support. And also Baby Basley Alternates and Underlines, working in sync with Baby Basley Regular to create incredible typographic creations. Get inspired by the preview above. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ

Sabina Chipară's DIN Next Shapes typeface is a twist on the original German industrial classic, taking its skeleton and re-clothing it in dots, hearts, snowflakes and stars. The design offers a more approachable and whimsical tone of voice than the original, while maintaining all the legibility and clarity of form that makes DIN Next such a reliable and versatile design. It works in harmony with DIN Next, and is particularly suited for designers looking to be a little more expressive. DIN Next Shapes includes four fonts: Dots, Flakes, Hearts and Stars, and has pan European language support including Greek and Cyrillic. It also has OpenType features including stylistic alternatives, ligatures and fractions.

Catfish is a monoline geometric script with a touch of classic and vintage and can be used for various purposes such as logos, badges, t-shirt design, signage, labels, book cover design, posters etc... The font is best used in an OpenType-aware software such as Adobe Illustrator, InDesign, MSWord etc. Please note that OpenType capabilities differ from one application to another. Underline feature was tested in Illustrator, InDesign, Photoshop and MSWord and works perfectly. The package contains a how-to pdf explaining how to use the underline feature. If you are working in Adobe Photoshop, to get an access to all glyphs you may need an additional software (for example, PopChar http://www.ergonis.com/products/popcharx/).

Zebramatic - A Lettering Safari Zebramatic is a font for editorial design use, to create headlines and titles in eye-catching stripes. Constructed to offer flexible and a variety of graphical possibilities, Zebramatic type is easy to use. The font is offered in three styles: POW, SLAM and WHAM. These styles work both as ready-made fonts and as patterns to create unique, individualized type. The font design’s full potential is unleashed by layering glyphs from two or all three styles in different colors or shades. Working with the different styles I was reminded of the late Jackson Pollock poured paintings—in particular the documentation of his painting process by Hanz Namuth and Paul Falkernburg in the film Jackson Pollock 51. In Pollock’s pictures the complex allure arises from how he layered the poured and dripped paint onto the canvas. Similar joyful experience and exciting results emerge by layering the different styles of Zebramatic type. Texture In the heart of the Design is Zebramatics unique texture. It is based on an analog distorted stripe pattern. The distortion is applied to a grade that makes the pattern complex but still consistent and legible. You can view some of the initial stripe patterns in the background of examples in the Gallery. Zebramatic POW, SLAM and WHAM each offer a distinct pallet of stripes—a unique zebra hide. POW and WHAM use different distortions of the same line width. SLAM is cut from a wider pattern with thicker stripes. The letter cut and kerning is consistent throughout styles. Design Concept Attention-grabbing textured or weathered fonts are ideal for headlines, ads, magazines and posters. In these situations rugged individuality, letter flow, and outline features are magnified and exposed. Textured fonts also immediately raise the design questions of how to create alignment across a word and deal with repeated letters. Zebramatic was conceived as an especially flexible font, one that could be used conveniently in a single style or by superimposing, interchanging and layering styles to create a unique type. The different styles are completely interchangeable (identical metrics and kerning). This architecture gives the typographer the freedom to decide which form or forms fit best to the specific project. Alignment and repetition were special concerns in the design process. The striped patterns in Zebramatic are carefully conceived to align horizontally but not to match. Matching patterns would create strong letter-pairs that would “stick out” of the word. For example, take the problematic word “stuff”. If Zebramatic aligned alphabetically, the texture of S T and U would align perfectly. The repeated F is also a problem. Imagine a headline that says »LOOK HERE«. If the letters OO and EE have copied »unique« glyphs - the headline suggests mass production, perhaps even that the designer does not care. Some OpenType features can work automatically around such disenchanting situations by accessing different glyphs from the extended glyph-table. However these automations are also repeated; the generated solutions become patterns themselves. Flip and stack To master the situation described above, Zebramatic offers a different programmatic practice. To eliminate alphabetic alignment, the letters in Zebramatic are developed individually. To avoid repetition, the designer can flip between the three styles (POW, SLAM, WHAM) providing three choices per glyph. Stacking layers in different sequences provides theoretical 27 (3*3*3) unique letterforms. A last variable to play with is color (i.e. red, blue, black). Images illustrating the layering potential of Zebramatic are provided in the Gallery. The design is robust and convenient. The font is easily operated through the main font panel (vs. the hidden sub-sub-menu for OpenType related features). The process of accessing different glyphs is also applicable in programs that do not support OpenType extensively (i.e. Word or older Versions of Illustrator). International Specs Zebramatic is ready for your international typographic safari. The font contains an international character set and additional symbols – useful in editorial and graphic design. The font comes in OpenType PostScript flavored and TrueType Format.

While it is obvious that this is an ornamental style font, it is more than that: it is a Celtic Knotwork design tool! Irish, Scottish, Welsh, even Norse and Viking cultures have used knotwork designs for millenia. These ancient traditional interwoven designs are experiencing a revival as Celtic culture gains exposure in the modern world. Intricate Celtic knots are featured everywhere from jewelry to tattoos. While many enjoy them simply for their beauty and fascinating twists, they can also be used to add an air of myth, magic and mystery to any project. The interlaced lines make them perfect for wedding invitations, borders, dividers and rules, web graphics, and logos. I began using Celtic knotwork designs in my own work as part of my knifemaking and jewelry making hobbies. I read all of the books I could find about Celtic knots and at first I drew them by hand with pencil and paper. Then as I realized how nice it would be to have "undos" I switched over to using Corel Draw. Draw proved to be a natural for this type of artwork with tools like contour and the trim function. But even with these great tools, it was still tedious to create these designs. I noticed that I was able to reuse a lot of parts in repetitive sections. I developed a small library of reusable bits and chunks of Celtic designs. I found them so useful and fun to work with that I began thinking about ways to market my Celtic design kit. I thought about CDR and EPS formats, but then I thought of creating this toolset as a True Type Font. That way anyone with ANY program that uses fonts could easily create Celtic knotwork designs. Word processors, embroidery programs, engraving programs, jewelry design programs, CAD/CAM programs...almost every program can use fonts. I was also interested in CNC work and thought that this font would work well for applications such as laser etching, vinyl signs, and machining. With that in mind, I designed each character of the font with extremes of accuracy. If one character from the font is used at one inch tall, every control point will be placed to an accuracy of better than 0.0001 inch. I wanted every piece to meet exactly with the next, with no possibility for misalignment. The different styles are all very carefully created to fit accurately with each other. So the Filled Style fits exactly into the Outline Style, and the Inverse Style fits precisely around the Outline Style so as to make up the background behind the knotwork. Combining the styles allows you to have complete creative control. By assembling the nearly 200 pieces it is quite easy to produce very complex designs. It is actually a bit like playing with a puzzle and many people really enjoy putting the pieces together to make designs. In fact, I have had many customers tell me of how they love playing with this font and making knots into the wee hours of morning. If you like puzzles then you will absolutely love this font! And creating the patterns is just the beginning of the fun! If you apply your favorite Photoshop tricks on them you can make anything from dazzling chrome knotwork to carved stone. Photoshop plug-ins like SuperBladePro are great for converting knotwork text into corroded bronze or rusted iron. Use your knotwork to add texture to a virtual landscape, or add them as surface embelishments on architecture and furniture. You can also make round knotwork by using this font with "WordArt" (WordArt is included with every copy of Microsoft Word. See http://clanbadge.com/round_knots.htm for a tutorial on how to make round knotwork). For Crafters there are limitless uses for this font. It has been used for embroidery, jewelry, leatherwork, stencils, stained glass, quilting, painting, pyrography, woodcarving and lots more. We have even sold copies to monks for use in decorating handmade books!

The Bree font family is a spry sans serif by Veronika Burian and José Scaglione that delivers a spirited look and feel for branding and headline usage. As an upright italic, Bree shows a pleasant mix of rather unobtrusive capitals with more vivid lowercase letters, giving text a lively appearance. Bree is clearly influenced by handwriting. As such, some of its most characteristic features are the single-story ‘a’, the cursive ‘e’, the outstroke curves of ‘v’ and ‘w’, the flourished ‘Q’, and the fluid shapes of ‘g’, ‘y’, and ‘z’. Alternates of these letters are available when a more neutral look is desired. Bree has a touch of cheekiness, a wide stance for each character, and an extra-large x-height. All this adds up to a big personality, so even when set in small text there is no skimming past the words Bree voices. In 2019, the Bree font family got a huge update. A few shapes were updated or added (the ‘k’ and German capital ‘ß’), two entirely new weights were added (Book and Book Italic), and spacing was perfected. More than that, Vietnamese support was added to Bree Latin, and the Bree Greek and Bree Cyrillic scripts were designed from scratch to parallel the Latin’s tone. Additionally, Bree was designed in variable font format for those who want complete control over the font’s appearance while simultaneously saving digital weight in the form of kilobytes and megabytes. Bree is in the perfect position for the next digital revolution. The complete Bree font family, along with our entire catalogue, has been optimised for today’s varied screen uses. Bree has been chosen for such wide-ranging uses as Breast Cancer Awareness Month in the US, the branding for the country of Peru, and numerous layouts including mobile apps, magazines, newspapers, and books. Awards – Tipos Latinos exhibition 2008 – Several best-of-the-year typeface lists of 2008 MyFonts Top 10 Fonts of 2008 Smashing Magazine: 60 Brilliant Typefaces For Corporate Design https://www.smashingmagazine.com/2008/03/60-brilliant-typefaces-for-corporate-design/ Die besten Schriften 2008 http://www.fontwerk.com/619/die-besten-schriften-2008/ – Selected for Typographica’s Best Typefaces of 2008 – Won Bronze for Original Typeface in the 2009 European Design Awards

Almost a half of a millennium after being mistaken for the original 4th century Gothic alphabet and falsely labeled "barbaric" by the European Renaissance, the blackletter alphabet was still flourishing exclusively in early 20th century Germany, not only as an ode to Gutenberg and the country's rich printing history, but also as a continuous evolution, taking on new shapes and textures influenced by almost every other form of alphabet available. Blackletter would continue to go strong in Germany until just before the second World War, when it died a political death at the height of its hybridization. For almost 50 years after the war, blackletter was very rarely used in a prominent manner, but it continued to be seen sparely in a variety of settings, almost as a subliminal reminder of western civilization's first printed letters; on certificates and official documents of all kinds, religious publications, holiday cards and posters, to name a few. In the early 21st century, blackletter type has been appearing sporadically on visible media, but as of late 2005, it is not known how long the renewed interest will last, or even whether or not it will catch on at all. The last few years before World War II were arguably the most fascinating and creative in modern blackletter design. During those years, and as demonstrated with the grid-based Leather font, the geometric sans serif was influencing the blackletter forms, taking them away from their previous Jugendstil (Art Nouveau) hybridizations. Blackhaus is a digitization and elaborate expansion of a typeface called Kursachsen Auszeichnung, designed in 1937 by Peterpaul Weiss for the Schriftguss foundry in Dresden. This is one of very few designs from that time attempting to infuse more Bauhaus than Jugendstil into the Blackletter forms. This is why we used a concatenation of the words blackletter and Bauhaus to name this face. The result of injecting Bauhaus elements into blackletter turned out to be a typeface that is very legible and usable in modern settings, while at the same time harking back to the historical forms of early printing. The original 1937 design was just one typeface of basic letters and numbers. After digitizing and expanding it, we developed a lighter version, then added a few alternates to both weights. The Rough style came as a mechanically-grunged afterthought, due to current user demand for such treatment. Having the flexibility of 2 weights and many alternates of a blackletter typeface is not a very common find in digital fonts. More specifically, having the flexibility of 2 weights and alternates of a 20th century blackletter typeface is almost unheard of in digital fonts. So the Blackhaus family can be quite useful and versatile in an imaginative designer's hands.

YuleLoveIt or Yule not. What else can be said about holiday toys that are also letters? We just said it.

Usage recommendations: Captions, fliers, packaging, cards, posters, ads, book jackets, manuals, menus, bulletins, magazines, greetings, announcements. Not suitable for MSWord.

The informal style of Frivolous feature lots of flourishes and swirls that give it a charming and spontaneous handwritten quality.

Influenza, whose name means 'the flu' in a number of languages, is a fat, single weight typeface. It's a bastard typeface, each character stands alone as an independent angular structure. Some characters have stylised blackletter features, some are quasi-bitmapped, some are blends between upper and lower case. This also inspired the name since the flu virus changes every time it comes around, it's a new disease every time you have to stay home under the covers drinking hot tea.

Cosmic Sans was my first font ever created for a school project. The class I made this font for was my Advanced Typography and was a semester project. I really couldn't think of a title for this font, until one of my good friends said, "Why don't you name it Cosmic Sans?" I searched the internet for any other fonts with that name, and sure enough there wasn't. Thus the name stuck. This font is more or less a display font, thus every secondary character was not created. I hope you enjoy this font and much as I have while creating it!

Monospaced but no mono space. Created from 2002 to 2007 this font family is influenced by fonts like OCR-B, DIN and the work of Erik Spiekermann. Newsletter is not a real monospaced font but has the ease of recognition these fonts have - even though these fonts are often criticized for their aesthetic qualities. Newsletter has a computer-related impression but is more legible and aesthetic than real monospaced fonts are. Since 2006 Newsletter is the corporate font of the design agency "die Typonauten". It is eminently suitable for correspondence use. After a testing period and fine tuning it is now published.

Are you looking for a font that's as delicious as your favorite food? Meet Tastykare Font! It's a playful, all caps display font that gives your designs a retro-bold, bouncy vibe. Whether you're working on a menu, a recipe book, or a food blog, this font is perfect for anything culinary. Tastykare Font is super versatile, with alternates and multilingual support. So, it doesn't matter if you're cooking up a flyer for a local event or a poster for a big campaign - this font has got you covered. So, go ahead and satisfy your hunger for design with Tastykare Font!