Obsession has taken me completely in its spell. I could go on forever creating new forms for this script. But I have other fonts to do, so this is as far as my obsession goes for the moment. There are six different cuts and all letters can be mixed.

Bodoni Comedia is for the funny, happy things in life. I really enjoyed doing this one. - your funny type designer Gert Wiescher

Xanthine… is a purine base found in most human body tissues. Yes, you can forget that. I don’t even know what it means, but I suddenly realised that I was running low on fonts with an ‘x’ in the name. Xanthine font is a messy brush: it is all caps, but upper and lower case mingle freely. It comes with a whole bunch of diacritics and some interesting ligatures as well. I have included a very handy shapez pack and a truckload of arrows - anything to make you happy…

Orenji is the Japanese word for Orange: it is a phonetic translation of the English word. I was actually looking for a certain shade of orange (the color), when I stumbled upon this fun word. I already toyed with the idea of creating a font loosely based on my son Sam's handwriting and I figured Orenji would be a good name for it. Orenji is a fun, cute and extravagant font. It has some uniquely shaped glyphs, comes with a giggle and a hug and more diacritics than you can throw a banana at.

I don't know what it is with me and peanuts. I simply love it! I like peanuts in all kinds of meals: breakfast, lunch, dinner and even in desserts! But with an addiction like this, an overload of peanuts sometimes appear...and I guess that's where the name of this font comes from :) The Peanut Ache font is super clean, and super steady - use it for anything that needs a clean look! I've added 5 slightly different versions of each letter, and this really helps making your text to look even more fresh and lively!

The Tang family came to be, when I started studying fonts made for use in very small point sizes, like Bell Gothic. I studied the use of ink traps and went to town with them. Instead of just using them for their purpose: trapping ink to prevent the type getting blotted; I used them as a design feature. With those features Tang works very well in both headline and text use. I use it as a house type, and I've already seen it in a beer and cider labels.

Franko Luin, Carniola's designer, on this typeface: Carniola is a pastiche of different type designs from the beginning of the 20th century, mostly American. I am not very fond of it, but was convinced to release it by someone who needed a typeface with a time typical feeling. On the other hand: why not use the original typefaces from that period? Carniola has its name from the Latin name of Kranjska/Krain, a principality in the former Habsburg monarchy (Austria-Hungary), now part of modern Slovenia.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Our Galindo Pro was inspired by the heavy-weight animated fonts such as Ad Lib, Nightclub, and Bear Club, blending geometric cuts with light-hearted contours. The festive letterforms intrigue and draw in the reader, while the SmallCaps and extensive figure sets open the font up to a wider range of uses. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Monallesia is a sweet, soft hand-lettered font and monogram. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, Logo, Brand, and cute greeting cards. This display font is the perfect choice for making original and outstanding designs. This font is PUA encoded which means you can access all of the heart-themed glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Benilla is a sweet, soft hand-lettered font and monogram. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, Logo, Brand, and cute greeting cards. This display font is the perfect choice for making original and outstanding designs. This font is PUA encoded which means you can access all of the heart-themed glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Bad Girl was designed to appeal to the young consumer and the young-at-heart. While clearly feminine, it manages to combine a charming naïveté with in-your-face rebelliousness. The awkward, rather self-involved character shapes have a definite gauche appeal. Bad Girl has a gamine-like insouciance with a touch of wickedness. In contrast to its naive appearance, Bad Girl has been carefully crafted, letterspaced and kerned and contains a full character set of 237 characters. The font comes in two styles, regular and light.

Herra Maddison is the embodiment of modern elegance, offering you an exquisite script font with exceptional swashes and multilingual support. Whether you’re a designer working on wedding themes, branding, or promotional materials, this font will elevate your work, infusing it with a timeless and stylish charm that captivates the eye and the heart. Make Herra Maddison your choice for sophisticated, elegant designs that leave a lasting impression. Features A set of uppercase and lowercase glyphs Number, symbol, and punctuation Multilingual Support Alternates and ligatures PUA encoded

Stateside is a bold condensed serif with a vintage feel. It has an urban and, I like to think, urbane character which puts me in mind of classic Thirties architecture like the Rockefeller Centre or the Empire State Building. I did consider calling it Rockefeller, but the family might think it a bit of a liberty, and I can’t afford to get into a copyright battle with them!

Cagey - The Bold Retro Font I named this font cagey. Another picture of the ingenuity of the ancients when they found a masterpiece. Through this font, I want to reminisce and reminisce about the past. This font is synonymous with 70s or 80s style design visuals, Bold and strong. I hope you enjoy using this font and can come up with clever and brilliant ideas in your designs. Thanks Graphicfresh

Cake Shop has a lengthy history. Originally designed during the Eighties by Aussie artist David Art Wales, the font was inspired by the awkward but charming hand-lettered signs in a Maltese cake shop near his Sydney home. "These signs were hand-drawn by someone who clearly had no experience but who'd really put their heart and soul into the job. There was a real sincerity to the characters that I wanted to capture." For a brief time during the early Nineties, MTV used Cake Shop for all their on-air interstitials. Since then, it's become a go-to font for everything from children's books to album covers and ice cream branding. In a recent update, Wales added airier spacing to more closely resemble the original signs the font was based on.

This is not an historically accurate font but rather one intended capture the spirit of ancient Roman manual type. It was inspired by various patterns used in documents and books created by Latin scribes between the second and fourth centuries. They used either calamus and ink on papyrus, or a pointed metal stick on wax tablets. We have created the font for contemporary use; distinguishing between U and V, I and J, which had no meaning for ancient Latin scribes, and adding thorn, Oslash, Lslash, W, Y and common accented characters that did not exist at the time. A lot of titlings and contextual alternates complete the set. Available only in TTF and OTF format.

I don't know why exactly, but I felt the need to create a Western font. Band Wagon is a handcrafted cowboy font. It comes with curly slabs, spurs and ye olde outlaw spirit.

Squickt was the first script I designed. The name is an atrocity, I don't remember what was on my mind, when I decided on that name, but after 25 years it is to late to change, so I have to stick with it. I have recently gone over the script and changed a little stroke here, a curve there and I added Small-Caps. The font is very useful for all kinds of signs, that have to look spontaneous. You can even condense or extend it without me going berserk; Squickt is very robust. Your scribe Gert Wiescher

Pinch Remix is a recreated version of a typeface I made in 2007. The form hasn’t changed at all, but I composed the family by increasing the number of weights and revising the spacing and kerning. At first it was created from randomly drawing an alphabet offhand on paper with a drawing pen. Then I figured that perhaps it had the framework for a typeface. Originally because it was just a memo, I had already thrown in the trash once. Yet something about it caught me, and when I turned to look down at it, I couldn’t throw it away.

My friends didn't use capitals when sending me text messages, e-mails and using all their digital toys. At the beginning, I was feeling ignored. But after time I thought, that... I can do something for them. And so, I've made Redaktor. Redaktor is a cute monospaced family of four fonts, which has only lowercase characters and large x-height. If you want to write an uppercase character, you can't do it. (OK, to be fair, there will be small underline, just to show you, what you have done...) You may find Redaktor useful for posters, titling, info-graphics or websites.

We began with the Victorian font Dotted, so-called because the counters of many of the letters contained a dot. We knocked out the dots, added a lowercase, and voila! a more useful type than the original without losing its charm.

For this Byzantine Empire calligraphy font, I had to work for 2 weeks and 3-4 hours a day and search the internet. It made me very tired, but I finally finished it, and it was good. This font can use both latin keyboard and greek keyboard. I also added Greek unicode characters. I will adapt this font to the latin alphabet, I will make the full character set font, this will take less time. I wish you good work.

I like Ravens. In fact, I like them so much that I have a tattoo of a Haida raven! Ravenheart was more or less modelled on my Qilin font, but it is completely different. It is scary and inky, but it has a certain flair as well. A bit mystical, a bit evil, but I am sure you’ll find many uses for it. Comes with a fluttering of diacritics.

I love learning new words. I stumbled upon the term Gingerline after I named an older font Gamboge. Like Gamboge, Gingerline is a name for a shade of orange - the color of ripe kumquats to be precise. Didn’t know that! Gingerline font is a handmade calligraphy font; nice and even, thick and thin and quite elegant if I may say so. Comes with an abundance of diacritics as well.

This is Emoji font(Dingbat), contains many cute motif like animals, heart, ribbon, foods, fashion goods. I think you can use it for decorate contents for children, and use web font as icon. You can use as it is, I think that you can paint the color inside. It might be interesting even if you hang a hat or put on a ribbon by combining several characters like a sample. I make it will be cute, and you use it with happy feeling, I will be happy if you think so. ＜「omekashiemoji」紹介文＞ 動物やハートやリボン、食べ物、ファッション小物などかわいいモチーフがたっぷりな絵文字フォントです。 子供向けコンテンツの装飾に使ったり、webフォントをアイコンとして使ってもいいんじゃないかなと思います。 そのまま使ってもいいですし、中に色を塗ってもいいと思います。サンプルのように数文字組み合わせて帽子を被せたり、リボンをつけたりしても面白いかもしれないです。 かわいくなるように、使って楽しい気分になれるようにとの思いを込めて作りました。 その思いが少しでも伝われば幸いです。 ＜スタイルカテゴリー＞ 絵文字、Dingbat ＜価格＞ 税抜1200円

A dapper, rustic, handwritten font with a personal charm. With quick-drying strokes and distinctive styles, Busstan is perfect for branding projects, household appliance designs, product packaging - or just as a style text overlay for any background image. That's it! I really hope you enjoy it - please do let me know what you think, comments & likes are always hugely welcomed and appreciated.

With packaging in the back of my mind I created Crema only in one specific weight. But there are 3 styles from the connected Forte to the quiet Piano. You can see Schoko the other packaging scripts I designed everywhere in the supermarkets. And I am looking forward to see Crema as well.

Yume is a fun loving font with a cruel streak that can sometimes turn laughter into daggers. This wicked personality can lead to some aggressive turns of phrase, but when it’s not being mean, Yume can use its strength and sense of humour to do a lot of good. Either way, Yume is sure to have a big impact on your audience, shocking them into paying attention through crisp, sharp lines and chunky, bold characters.

I designed Lowbridge Hand for product designers, fashion designers, architects, garden designers and anyone who wants to annotate their sketches and drawings. This is something I wish I had when I was a design student. It has different weights allow you to better match your pen size used on your drawings or to emphasise text. It is an all caps font. I hope you enjoy using Lowbridge Hand for your drawings.

When Patricia Lillie was growing up, she thought the coolest thing in the world would be finding her own name listed in a library catalog. The fantasy came true in 1986 when her first children's book was published. Five more followed. The thrill of seeing her work on library shelves hasn't abated, but today, Lillie is just as likely to see one of her typefaces on the cover of a book. She has created several display faces and image fonts. My first typeface designs were based on lettering I'd done while working for a library, doing graphics work for the children's section," she explains. "I currently do a lot of web design, but type is my favorite thing." The Tickles (ITC Tickle and ITC Tickle Too) are Lillie's first ITC typeface releases. "I was playing around with a Sharpie marker one day and liked the way the letters looked," she recalls. "I started redoing the letters from scratch in Fontographer to see what developed, and liked those letters too." ITC Tickle is a bi-form font (with both cap and lowercase letters of the same size) that clearly breaks a typographic rule or two. ITC Tickle Too has the same basic lettershapes, but they've grown clusters of stipples that give a three-dimensional quality to the design. The result is a friendly, offbeat display family that's guaranteed to add a giggle to your work."

Edison, is it Victorian or is it Art Nouveau? While this typeface may be found in Petzendorfer’s Treasury of Art Nouveau Alphabets, I believe the decorative spirals are more Victorian than “New Art.” To me, they looked tacked on, rather than organic -- with the industrial mechanics of a coiled spring, rather than the tendrils of a growing plant as the philosophical wellspring. Originally released by ATF in 1894 as Houghton, this typeface was re-released shortly thereafter by Bauer and Berthold in Germany as EDISON. Please do not make the mistake of thinking the font we offer here is no better than freeware fonts in cheap rip-off collections. This font has a set 218 characters and represents many hours manipulating the bezier curves to produce acceptable results. Available freeware fonts are often little more than raw scans with little accuracy of letterform. The muddy line intersections are a dead give-away. Frequently all you get is the alphabet itself. No numbers, no punctuation and don't even think about diacriticals. The font we offer represents a tremendous value. Considering the hours of work involved, I have no business charging so little. I could make better money cooking hamburgers or bagging groceries. But we want very much to encourage you to purchase and enjoy these fascinating historical typefaces and are making it as easy as possible for you to do so. So please encourage us and order Edison today.

Inlow is a font that evokes a sense of retromodernity, aesthetics, and something perfect. When developing it, I wanted to convey a touch of retro design and modern design. It can be used in the design of posters, logos, covers, Instagram, just in the text and many other ideas, all just border on your ideas. I think I can see this font on the covers of books. It's exciting. Inspirations were book covers and cars from the 60s and 80s. I wanted to convey retro and modernism. The use of the font is unlimited, and the support of many European languages and not only gives a huge scope for creativity! Design By Eugene Bunin.

I have always been fascinated by the ‘Full English Breakfast’. A Full English usually consists of toast, baked beans, sausages, fried eggs, fried tomatoes, fried mushrooms and sometimes blackpudding (a kind of sausage made from pig’s blood). When I lived in England, my friends were always quite happy to stow away a big full breakfast, but I, on the other hand, could not really set myself to eating one. Full English is a hand made stencil font. If you own a pub and you serve breakfast, you could use it for your signs, but I guess this font looks good on anything that needs a bit of attention. For attention, it will get!

The year 2022 went and 2023 came. I can honestly say that last year was a horrible year and I am happy it ended a couple of days ago. The first week after New Year’s Eve always fills my head with the U2 song ‘New Year’s Day’ - so I named this font after a line from the lyrics. I also happened to watch a fantastic movie called ‘Im Westen Nights Neues’, directed by Edward Berger, but based on a book by Erich Maria Remarque, which, in English, was published as ‘All Quiet On The Western Front’. So there you have it: naming a font in 2 easy steps! ;-) All Is Quiet is a lovely brush font, which I created using my father in law’s Chinese pencil and ink. I can suggest some uses here, but I am convinced you can come up with that yourself.

Ok, so many of you are now probably wondering if I am a teenager. Nope. But I was once, and I had alot of pent up angst like alot of other teens, and maybe this typeface is my outlet for what is left of those teenage days of mine. Take it as you will, but Young Itch is a bold, scratchy, handdrawn typestyle, with that feel of grunge and pent up anger. The typeface comes with its own persona, but I bet it would work itself well into a wide array of designs. Ventilate your current or past teen angst with Young Itch today!

I started to work at the Bernhard Studio in 1952 to 1959 in New York. I helped with some type designs and many other projects, this two tiered signature was added on all of Bernhard’s art that was produced in the past and in his later years. In the 50’s I thought Bernhard’s Gothic face was quite a bit outdated but as you may know it has become one of todays most used faces. His signature is based on his Bernhard Gothic Font. With todays computer technology I have digitized the caps and added lower case glyphs with lower ascenders and other slight changes.

My youngest son Boris has his birthday in a week. He turns 8, and he loves to play with those Danish building blocks - you know what I’m talking about. Last year he developed an interest in Star Wars n(no idea how that came to be), so we bought him some Star Wars-themed blocks for his birthday. I am now watching the movies with him and it is fun to witness his enthusiasm. The only drawback is the fact that we now seem to have a Chewbacca in our home… Meowtant Kittens is a font I drew with a fineliner and then digitised. Of course the name was influenced by the movies I am watching with Boris, even though they don’t feature any Meowtant Kittens.