Calder is a display typeface collection. It incorporates 10 styles and offers two distinctive voices: a playful semi-connected script and a selection of subtle yet authentic sans serifs. Designed to complement each other, they offer a unique and engaging visual tool. Inspired by the pursuit of the outdoors, Calder began as a personal experience and endeavor to express and share the spirit of adventure connected with this renewed, growing movement.

Minty Breeze is a modern serif with lots of ornamental alternatives that allows you to design expressive logos or titles for all types of your projects. The vintage yet elegant style combined with modern typographic art is the main attraction of this font, from Branding to fashion-related concepts. Thanks to its beautiful character. The fonts come in 7 styles, from thin to black, as well as variable formats as well.

Aloja handwriting font was drawn by Ieva and Krisjanis and put together by Krisjanis Mezulis. Aloja font can be used for - Big titles, events, posters and invitations. It is easy to read and features a fresh and easy feel. Every single letter is hand drawn with a thin brush on acrylic paper, this making the typeface visually unique. The playful letter bounces make it stand out from the crowd.

Island Time JNL is based on the hand-lettered title from a piece of 1940s sheet music called "An Island Melody". This Art Deco typeface is perfect for projects where a clean, yet attractive headline font is needed. The font's name is based on the euphamism popular amongst Caribbean Islanders that when someone is excessively late for an appointment, date or event they are running on "island time".

Hi, Introducing The Romtthing Girl is a simple and stylish font, comes with Elegant Variations, opentype features such as stylistic alternates, initial and final form, Romtthing Girl Features 500 glyphs and ligatures. We keep this font looks elegant, classy, readable, stylish, catchy and easy to use. The Romtthing Girl Font is the right choice for photography, signature or signature logo design, quotes, album covers, business cards, and many other design projects. From business cards to photo watermarks, because the Romtthing Girl font is a classy signature with luxury. This is a very charismatic & confident font choice for your various design projects.

The family tree of this friendly face runs deep. Its primary inspiration is Twentieth Century, designed by Saul Hess as a monoline version of Paul Renner’s Futura. The design was reinterpreted by Herb Lubalin as Avant Garde in the 1970s. This version softens the harsh geometry of the original designs with rounded line endings: the result is a warm, inviting face that is elegant, confident and inviting. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Centennial Script Easy is the Intellecta digitization of the classic font from Hermann Ihlenburg in 1876 developed originally for the MacKellar, Smiths & Jordan typefoundry. We decided to digitize only the uppercases to this work, and to create a different version to this anciente design, we joined the uppercase to the lowercase set of another classic font, Pentagraph. This is a fraction of the global project, which is complete with the Centennial Script Fancy and Centennial Ornaments fonts, making a complete ornamental family of lettering solutions with genuine and original art-noveau taste.

Swiss type designer Cornel Windlin created this display and slab FontFont in 1995. The family has 9 weights, ranging from Thin to Black and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries as well as poster and billboards. FF Magda provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with tabular lining and tabular oldstyle figures. This FontFont is a member of the FF Magda super family, which also includes FF Magda Clean and FF Magda Clean Mono.

Swiss type designer Cornel Windlin created this display and slab FontFont in 1995. The family has 9 weights, ranging from Thin to Black and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries as well as poster and billboards. FF Magda provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with tabular lining and tabular oldstyle figures. This FontFont is a member of the FF Magda super family, which also includes FF Magda Clean and FF Magda Clean Mono.

Swiss type designer Cornel Windlin created this display and slab FontFont in 1995. The family has 9 weights, ranging from Thin to Black and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries as well as poster and billboards. FF Magda provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with tabular lining and tabular oldstyle figures. This FontFont is a member of the FF Magda super family, which also includes FF Magda Clean and FF Magda Clean Mono.

Neuramatica is a low contrast sans serif font. Simple letter form makes that this font has a high level of legibility. Thus making Neuramatica look very modern. Neuramatica has five different weights, ranging from Light, Regular, SemiBold, Bold and Black. This font is highly recommended for use as a bodytext or headline, because it has good legibility. Design with a swiss style is perfect to use this font because it gives the impression of a modern and simple but still able to read well.

Milan-based Leftloft studio has produced a third leg to its hit Etica font family: LFT Etica Mono. Meant to be a coder’s go-to font for everyday use as much as a designer’s way to invoke a certain genre, it is part of a broader and more versatile family that already contains almost 80 sans and serif fonts. LFT Etica Mono’s ten weights carry the same modern, recognisable DNA of the Etica family while hewing to the defined requirements of a coding typeface: space, density, distinct forms, and clarity. It uses the same instroke on the ‘c’ and open form of the ‘a’ for which the Etica family is famous, but adds something new in the form of an additional italic style. Monospaced fonts usually incorporate slanted letters as italics, as does LFT Etica Mono, but its default italics have warmer, cursive shapes while the alternate italics are simply slanted. The default ‘a’ is a simplified bowl and stem instead of a two storey shape; the ‘d, f, i, l, t, y’ and others gain an outstroke tail; the ‘e’ is one smooth stroke; and the default ‘k’ is looped. These characters have basic, slanted alternates if the cursive look isn’t desired, and includes a set of arrows and geometric shapes. The monospaced design, by nature, makes the typeface useful in coding and in low readability situations. And how does LFT Etica Mono work from the designer’s perspective? The starting point was the need for a monospaced Etica companion intended for technical applications: captions in graphic layouts, small text, confined or predefined space, and overall tone. Flat terminals and counters maintain the colour and versatility of the original typeface, but choosing between the organic cursive or blunt slanted alphabet will give every layout its own character. Of particular aesthetic interest may be the & and % symbols. Designed to be applied to the common visual environment, the new LFT Etica Mono font family completes a more complex system. One benefit is to give an expressive tone — less serious and more friendly — to something inherently technical, to bytes and bots, to encode the beautiful life.

In this face designed for Bauer in the twenties, Emil Rudolf Weiss used tiny serifs with many inversions and alternative forms to create the mannered texture peculiar to this form.

TT Marxiana useful links: Specimen | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Marxiana: TT Marxiana is a project to reconstruct a set of pre-revolutionary fonts that were used in the layout of the "Niva" magazine, published by the St. Petersburg publishing house A.F. Marx. In our project, we decided to focus on a specific set of fonts that were used in the preparation and printing of the "Niva" magazine in 1887, namely its Antiqua and Italic, Grotesque and Elzevir. As part of the TT Marxiana project, we sought to adhere to strict historicity and maintain maximum proximity to the paper source. We tried to avoid any “modernization” of fonts, unless of course we consider this to be kerning work, the introduction of OpenType features and creation of manual hinting. As a result, with the TT Marxiana font family, a modern designer gets a full-fledged and functional set of different fonts, which allows using modern methods and using modern software to create, for example, a magazine in a design typical of the late 19th century. The TT Marxiana project started in the late summer of 2018 and from the very beginning went beyond the traditional projects of TypeType because of the importance of preserving the historical identity. Since up to this point, we had never before reconstructed the font from historical paper sources and with such a level of elaboration and attention to detail, it took us two years to implement this project. You can read more about all stages of the project in our blog, and here we will briefly talk about the result. As it turned out, drawing a font following the scanned pages of a century-old magazine is a very difficult task. In fact, such a font reconstruction very much resembles archaeological excavations or solving a complex cipher, and all these efforts are needed only in order to finally understand what steps need to be taken so that the resulting font is not just an antiqua, but the specific and accurate antiqua from "Niva" magazine. In addition, due to the specifics of printing, same characters in the old magazine setting looked completely different, which greatly complicated the task. In one place, there was less ink than needed, and the letter in the reference was not well-printed and thin, in some other place there was more ink and the letter had flooded. An important task was to preserve and convey this feeling of typographic printing, but at the same time it was important to identify the common logic and character of the dot gains so that the font would form a harmonious, single, but at the same time lively picture. Since the "Niva" magazine was historically published in Russian, the magazine had no shortage of references for the reconstruction of Cyrillic characters, but there were not many Latin letters in the magazine at all. In addition, the paper source lacked a part of punctuation, diacritics, there were no currency signs nor ligatures at all—we developed all these characters based on font catalogs of the 19–20 centuries, trying to reflect characteristic details from the main character composition to the max. So, for example, the Germandbls character, which is not in the original "Niva" set, we first found in one of the font catalogs, but still significantly redesigned it. We decided that in such a voluminous project, only graphic similarities with the original source are not enough and we came up with a feature that can be used to exchange modern Russian spelling for pre-revolutionary spelling. When this feature is turned on, yat and yer appear in the necessary places (i, ѣ, b, ѳ and ѵ), the endings of the words change, and so appears a complete sensation of the historical text. This feature works in all fonts of the TT Marxiana font family. TT Marxiana Antiqua is a scotch style serif, the drawing of which carefully preserved some of the artifacts obtained by printing, namely dot gain, a slight deformation of the letters and other visual nuances. TT Marxiana Antiqua has an interesting stylistic set that imitates the old setting and in which some of the signs are made with deliberate sticking or roughness. Using this set will provide an opportunity to further simulate the setting of that great time. TT Marxiana Grotesque is a rather thick and bold old grotesk. Its drawing also maximally preserved the defects obtained during printing and characteristic of its paper reference. In addition to pre-revolutionary spelling, TT Marxiana Grotesque has a decorative set with an inversion. This is a set of uppercase characters, numbers and punctuation, which allows you to type inverse headers, i.e. print white on black. As a result of using this set, you get the text against black bars—this way of displaying was very characteristic for print advertising at the turn of the century. In addition, about 30 decorative indicator stubs were drawn for this set: arrows, hands, clubs, etc. TT Marxiana Elzevir is a title or header font and is a compilation of monastic Elzevir that were actively used in the "Niva" magazine for all its prints. Unlike the antiqua, TT Marxiana Elzevir has sharper forms, and the influence of deformations from typographic printing is not as noticeable in the forms of its signs. This is primarily due to the specifics of its drawing and the fact that it was usually used as a heading font and was printed in large sizes. The height of the lowercase and uppercase characters of Elsevier is the same as the heights of the antiqua, but the font is more contrasting and lighter, it has a lot of white and, unlike the antiqua and the grotesque, there are a lot of sharp corners. An exclusive feature of the TT Marxiana Elzevir is an alternative set of uppercase characters with swash. • TT Marxiana Antiqua consist of 625 glyphs each and and it has 23 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, ss05, case. • TT Marxiana Antiqua Italic consist of 586 glyphs each and and it has 22 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Grotesque consists of 708 glyphs and it has 22 OT features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Elzevir consists of 780 glyphs and it has 21 OT features, such as: aalt, ccmp, locl, ordn, frac, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, ss05, ss06, salt, c2sc, smcp, case, liga. FOLLOW US: Instagram | Facebook | Website TT Marxiana language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chiga, Cornish, Corsican, Cree, Danish, Dutch, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Galician, German, Gusii, Haitian Creole, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Ladin, Leonese, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Mauritian Creole, Minangkabau, Montenegrin (cyr), Mordvin-moksha, Morisyen, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Samburu, Sango, Sangu, Scots, Sena, Serbian (cyr), Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Taita, Tetum, Tok Pisin, Tsonga, Tswana, Ukrainian, Uyghur, Valencian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zulu.

This casually elegant script, similar to the logotype lettering found on Mason jars (hence the name), is patterned after an offering from the 1930s chapbook 60 Alphabets by The Hunt Brothers. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Inspired by the of brutalism design, this font is made with an expanded width, with the authenticity of each letter, making this font look strong and brutal, suitable for use in the application of titles, posters, billboards and more.

Natural forms inspired us to design this font. A very simple, cute and somewhat playful font. The use of this font is various, and we would especially recommend it when the design requires the theme of nature and health.

Chamfer, released by Barhart Brothers & Spindler in the late nineteenth century, provided the pattern for this simple, elegant headline face. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Originally issued as Apollo by the Central Type Foundry of Saint Louis, this face evokes the glamor of late Victorian era. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

This updating of Berthold’s Ideal Grotesque was supervised at Monotype in 1926 by F.H. Pierpont. With some of the eccentricities in the borrowed original reduced, this series retains enough character to have become one of the world’s great sanserifs.

This font is a somewhat modified version of the original issued by the Manhattan Type Foundry in the 1880s. This New York foundry was in business for less than five years, so its fonts are not too well known.

The name of this blackletter font was chosen due to the centennial of the Bauer Foundry, Frankfurt am Mai, in 1937. Ernst Schneidler probably created then the most beautiful of all fraktur fonts. They are the fruit of countless calligraphic drawings and of many years of professional experiences. Zentenar Fraktur became in its time the workhorse among German blackletter fonts. To access all ligatures in both styles, it is recommended to activate Standard and Discretionary Ligatures. The round s can be reached by typing the # key, and the combination N-o-period plus the OT feature Ordinals gives you the Numero sign.

The lettering for Stencil Box JNL was found on the packaging of a children's toy stencil set circa the 1940s. Popular for years, Pencil Stencils were a series of "connect the line" stencils where a series of dashed lines were traced from the cutouts and the lines connected to complete pictures of animals or other subjects. Although the packaging itself was often updated to reflect the current times during the life of the product, it was this hand-lettered example of stencil-meets-Art Deco from the 40s that proved worthy of saving as a digital typeface.

Hallo... Let me introduce you to Matteson font. It comes with two style, Outline and Filled typeface. Matteson comes with a set of OpenType features: Contextual Alternates and Standard Ligatures are automatically on for certain character pairs. In addition it has over 50 alternates for display initials, set in Swash, Stylistic and Titling Alternates. Combine it to find the good composition words. This font are flexible, depends on the display or the style you want, you can make it looks modern or vintage. Also this font for me are good for Logo Type, Branding or event Invitation. just like how it looks in the sample display. To use the Ligature and Alternate you need the application who support OPENTYPE features Thus the description about the font, if there any other question do not hesitate to let me know.... Thanks

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Linear" for obvious reasons. The first "Alef" has a "fatha", this indicates that the name can be pronounced only one way, "AR-RAHMAAN". (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). This calligraphy is very clear and no letters overlap. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Ta & Saad". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran.

Malkiya is a strange font that stands out for its versatility. His personality develops through his particular modulation, which grows with load; making it a rather jovial typeface that doesn't abandon the more whimsical characteristics of the classic. With five styles available: Regular, italic, distort, bold, outline as well as a variety of exquisite variations, this font offers incredible flexibility for your designs.

This yeomanlike typeface features the letterforms of the venerable Underwood Victoria typewriter on steroids. The original monospacing has been generally preserved, but the letters have been carefully kerned to add to the visual impact. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

The American Type Founders 1923 Specimen Book and Catalogue called the inspiration for this typeface Engravers Text; it could easily be called elegant, enchanting and erudite, as well. The inline version of this font includes the complete 1252 Latin and 1250 Central European character sets; the Solid version includes the Turkish 1254 set in addition.

This font is good clean fun. "Kopa" is a word that means "soap" in the Hawaiian native language. The thickness and rounded edges mimic the form of solid soap. Some additional design involving the base of the glyphs brings out the style just a bit more. This font works especially well with colorful designs.

From the realm of insigne, a new family has risen. By name, Mandrel. Courtly in character and elegant in appearance, the face finds great favor among those with whom it seeks audience. With confident air, Mandrel carries itself gracefully before each pair of eyes, never faltering or stumbling in its refined step. But while dressed with gentility, this elegant family is not faint of heart when challenged. Crafted well for high-impact resistance, Mandrel steps boldly and prominently into the arena of the reader’s eye, boasting its tall x-heights, high contrast, confident bends, and sharp serifs. Skillfully, it wields its sharp serif endings, cutting swiftly through opponents’ crude clutter, which fights for the reader’s attention. From Thin to Black, nine weights and their matching italics make up this noble family. Mandrel furthermore includes an abundant treasury of OpenType variables to adorn your text. Ligatures, old-style figures, and stylistic sets are available to accompany the family’s 500 glyphs and its support for more than 70 languages. Raise your cup to this new Mandrel! With strong serifs and high contrast, you’ll find this champion ready to take up your challenge in many a test ahead.

Bisco Condensed is a small capital design inspired by hand lettered memorial wall art from the Harlem section of New York City. As a memorial, this design is dedicated to a type design colleague who lost his long battle with cancer. This font is a tribute to his strength and his liveliness. The original idea for Bisco Condensed was to capture the energy of those unique "streetforms" in a text/display design and encapsulate them into a lively & fluid type design with a high level of readability at all point sizes. Bisco Condensed is an excellent type for expressive display layouts. It works well as an independent design or a long with contemporary sans serifs that complement Bisco's irregular contours, weighting and bounce.

ITC Tapioca was designed by Eric Stevens. He developed the typeface for a nightclub, yet its simple forms are reminiscent of childhood writing exercises. This effect is enhanced by rough edges, which in large sizes make the characters look as though they were composed of strings of dots...or tapioca. The basic style is printed handwriting, although some forms take cursive handwritten forms. The varying slants and irregular forms of the characters give ITC Tapioca a sense of energy and playfulness.

The font was developed as a part of a corporate identity project for a pillow shop on the base of existing logo. It’s an attempt to reflect the space of a dream -- virtual reality where objects don’t have solid shapes, but present just hardly noticed disappearing contours. This idea determines the design of letters that resemble illustrations rather then alphabetical symbols and are based on ultra thin stems. The font was designed by Elena Kolesnikova and released by ParaType in 2009.

A burger and a shake - the classic companions! Mix those two and you get the Burger Shake - it may not sound very delicious, but the thought of mixing two nice things is great...or something! :) Anyway, the Burger Shake font is about having fun in a legible way. The letters are slightly uneven and rough here and there, and has this nice handmade organic feeling. I've added 5 slightly different versions of each letter, and they automatically cycle as you type!

A thin Roman typeface with slab serifs shown in various editions of the American Type Founders’ Specimen Book as either Lining Antique or Lining Central Antique was the model for Specimen Book JNL which is available in both regular and oblique versions. This is the 1700th design released by Jeff Levine Fonts since its inception in January, 2006 and was named Specimen Book JNL to celebrate the era when metal type and letterpress were the modern technology of their time.

This delicious font family takes its name from the tastiest of Piemonte’s specialities. It has been designed in collaboration with Turin-based calligrapher and artisan Andrea Tardivo. Piemonte soil provides the most delectable hazelnuts, which are the key to creating a mouth-watering chocolate spread called Gianduja. This popular delicacy has a rich graphic history, with lavishly designed packaging. We sought to infuse the sweetness and tradition of Turin’s confectionary into a new font family, reinterpreting Italian models from the first quarter of the last century. All fonts were crafted by hand on paper first and then digitised in a way that retains the handmade quality and aesthetic. This family blends the Turinese touch from the old chocolatiers and the beautifully printed foils they use to wrap each exquisite creation. The extensive display family contains; Gianduja Sans a geometric font based on examples found in Italian art deco era artworks. Gianduja Script has been handwritten with a speedball pen following the standards of “Bella Scrittura” and Gianduja Capitals is a decorative font inspired by the “liberty” lettering signs from Piemonte. To complete the suite we developed an inline Capitals version, a set of icons and decorative elements all with the same handmade characters to perfect partner with each character set.

German type designer Yanone created this sans FontFont in 2010. The family has 14 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, logo, branding and creative industries as well as poster and billboards. FF Amman Sans provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Arabic writing system. This FontFont is a member of the FF Amman super family, which also includes FF Amman Serif.

Shizzle is a font with a graffiti marker style. The lettterform of ‘Shizzle’ essentially made by the combination of downward and upward stroke base on -15 degres angle guideline. The basic of downward stroke is pulling pen from the top left to thw bottom right with full width of marker, then the basic shape of upward stroke look like the ligh flick by using the tip of the pen from bottom right to the top left. Inspired by Hip Hop and Rap style style. ‘Shizzle’ is a slang way of saying "Sure". People generally use it to communicate agreement to another person. This term is a product of Snoop Dogg's penchant for replacing the end of words with "izzle" to sound cooler. And ‘Fo Shizzle’ (for sure) this font offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts and advertisements, especially with graffiti look.

Up until the late 1920s, it was a popular habit in American songwriting to use African Americans as the topic of compositions using denigrating themes, words and even exaggerated character illustrations on the covers of the published sheet music. One such example of what was considered "entertainment" for its time was a piece entitled "Little Black Me". While this now socially and morally unacceptable piece of forgettable tripe is collected by some only for the historical documentation of the times they reflected, one good "positive" came out of this negative chapter of our country's musical heritage: The beautiful floral ornamented letters in the song's title has yielded Fancy Free JNL. Originally hand-lettered on an arc, these spurred Roman letters have been re-drawn, and are offered in both the regular design and a companion version with the ornamentation removed for lettering that is less ornate.