I love blueberries. When my brother and I were young, we used to pick them in the forest by the bucket. Afterwards, we’d always look like victims of a serial killer, but it was all worth it, as nothing quite tastes likes homemade blueberry jam. I don’t know why I named this cute little font Blueberry Jam. Maybe I was craving some… Blueberry Jam is a highly legible, extremely cute and very handmade font. It would look good on just anything, but book covers, product packaging and homemade jam labels come to mind. Blueberry Jam comes with a bucketload of diacritics.

My handwriting with a speedmarker turned into a font - well, not really, to be honest! Personally I did do all the writing of letters, but in order for the letters to fit perfectly together, I manipulated them - just a tad! But the result is a hasty set of letters! When I say I wrote all the letters, I mean it literally!!! All letters are unique, meaning all the accented characters are unique! On top of that, Laxory comes with ligatures for both double lowercase letters and numbers! You will need to use OpenType supporting applications to use the autoligatures.

I have always had a keen interest in forging; I used to be a silversmith, and I love working with metal. Some time ago I forged my first axe (a skeggøx or bearded axe), sharpened it and fitted it with a handmade ash handle. It isn’t perfect, but it is my first ever forged axe and I’m pretty proud of it. All of this went through my head when I started drawing the glyphs for this font. And to be honest, I couldn’t find a more suitable name for it! Bladesmith is a handmade font, forged in fire (haha). It was actually made with an old sharpie. It is a rough and ready font, quite suited for headlines, book covers and posters.

I only had this bouncy curve and a photograph of a daily menu (Truite Meunière) I took outside an obscure Paris restaurant when starting the design of this font. But while working on it I suddenly started thinking about Jacques Tati the famous but almost forgotten french director of Les Vacances de Monsieur Hulot, Jour des Fêtes, Mon Oncle, Playtime, Trafic etc. I thought about his bouncy walk and his hilarious ideas. The memories never left me while working on the font, so I decided to name the font after this great French moviemaker who gave me so many happy hours. Since Tati was a very funny character, I gave my characters a funny price. Thank you Jacques Tati, yours Gert Wiescher

Back in the nineties I had a deck of Tarot cards. It was part interest and part curiosity, but I also liked the look of them. My readings were just for fun; I thought it was all a joke, but when people started to return for more readings (because what I had predicted actually happened), I quit. That was way out of my comfort zone! Fortune Teller is a nice brush font. I made it with one of my late father in law’s Chinese brushes and ink. It comes with all diacritics and a set of alternate glyphs. If you buy this font, you will meet with a tall and handsome stranger and you will win the lottery. Guaranteed! Haha!

When did it start. One day I was designing some stuff for a fast food café. By style the Café was made as an old Soviet canteen. So I had to do a special accent on this in menu, advertising posters and other print products. I decided to do this by interesting old school font. There are many cool retro fonts on the Internet, but not one of them satisfied me on 100%. The next step was to look at the old posters and find some inspiration. So I found some cool pictures with exact letters that I needed, but there were no typefaces to buy so that I can print some text with this exact letters. That's why I decided to do such typeface for my own. You can use this typeface in the field of nutrition, and it also will suit for cinema posters.

This typeface came out as a side idea while I was working on one logotype. Suddenly I came up with an idea of creating “tuned” version of the typeface, based on that logo. The “tuning” turned me in a completely different direction and in a few hours of haste I was looking at a completely different typeface. A few days later I made this font available for free, since it wasn't meant to be at all :-). A few months later, I saw my typeface used in the menu in one pizzeria. I was amazed and glad and happy and proud, all at the same time. Oh, by the way: the logo I was working on was of different style and even of another stem’s widths. So, this is truly a font of it’s own design. Naftalin has both Latin and Cyrillic sets, since it was used with both.

Street Tag vol 2 is the second version of Street Tag fonts. Inspired from realistic caligraphy tagging style in many big cities. This style is more bold and readable, perfect for your “street art” designs style. I combined the real graffiti experiences into computer fonts, I think it will be different with other fonts if you can feel it, cause I draw graffiti, tagging and throw ups since I was high school. The real tagging style is never be tidy, but don’t worry, I already adjust the kerning and spacing in the best possible way. You’ll find the better result when you adjust the kerning, and edit baseline manually, especially for the alternates font, if you unfamiliar with these one, you can find many tutorials in youtube, for the example https://www.youtube.com/watch?v=251cTL029M4. what will you get You’ll get some alternates in several alphabet, see that in the font preview, some sample fonts I change the dot in “I” to stars, and I add ‘ into “O”, sometimes we do that in the real walls! You can explore more with this font!

When I was a kid, I loved the story of The Boy Who Cried Wolf. I thought it was pretty stupid of the boy to trick the villagers into believing wolves are attacking his flock of sheep. But I also thought it was a bit sad that the sheep are eaten by a wolf in the end. I didn’t really feel sorry for the boy (he really was stupid), nor the wolf (he just does what he is supposed to do in life), but I did feel sorry for those poor sheep. I guess this is what disinformation leads to in the end. Cry Wolf is a bit of a scary font: it was made with a really old and battered brush, using Chinese ink and some quality French paper. It has a slight tilt to the right and I added some inky splatter for dramatic effect. Use Cry Wolf for your book covers, product packaging and headlines; use if to spice up you invitations and your halloween posters. Comes in a slightly tilted Regular style and an outright Italic style.

Alimentary (adjective): relating to nourishment or sustenance. If you've seen my other fonts, you know I tend to lean into food-based names. This name has to do with food and science combined, so it's double nerdy in the ways I like to be nerdy! I started with Alimentary Medium, which was inspired by my shorter, wider font MacGuffin - I wanted something taller, narrower, with a hip and retro feel. When I finished the Medium weight, I felt like I wanted a Light weight. Then a Heavy weight. Then I figured, "what the heck," and made an outline version of the Medium weight too. In the end, I wound up with four members of the Alimentary family, each with over 700 glyphs! Not only do they all have the basics (A-Z, a-z, 0-9, and tons of punctuation), but they also each have 330 characters for European language support, and a limited selection of Greek, Coptic, and Cyrillic characters. Plus a double handful of alternates and ligatures to add a little variety to your designs! And of course, all of the Alimentary fonts are super-smoothed, with reduced nodes and clean curves, so whether you're cutting them out, printing them, engraving them, or using them in a way I haven't even thought of, these fonts will be sharp and crisp!

English Script is the classic Spencerian English script. I always wanted to do one of these; now finally I did. Your classical designer Gert Wiescher

I finally managed to create a font from the characters I wrote on my Etch A Sketch board. A bit grungy, but definitely something else.

This typeface was suggested by a 1930s ad for a product called Plantol, designer unknown. It can be either graceful or playful, depending on context.

Noma is a new wide-set display font with a minimal geometric style. I designed Noma because I wanted a tech-inspired font that has plenty of character while remaining legible. Noma is a great choice for high-impact headings and logotypes. I hope you enjoy, thanks for checking it out!

It's font created for posters, ads, websites. I created it when I designed a poster, then later realized that I very often need such a letters so decided to complete all of the characters. It's distinctive, spacious, hand made with narrow kern. Have more then 400 characters, smallcaps and text figures.

Candycorn Overdose represents how I used to feel on the morning after Halloween, way back when I was young enough to go out begging for candy.

This is what my good friend and painter Vincent’s handwriting looks like. I have put in a couple of ligatures and I hope you like it.

Morganismi is the first font I made for myself. I originally used it for making notes at the outsider art exhibition Morganismi here in Sysmä, Finland.

Virzo is a modern serif with loads of style. A unique modern font that is a mix of old and new. It's soft curves mixed with high contrast glyphs lend it self to both feminine and masculine qualities. Virzo Perfect for branding projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image. Virzo has more than 60 upper and lower case ligatures that to give your logo, business card and another project to a unique vintage look. I hope you have a blast using Virzo. Thanks for use this font ~ Khaiuns

In Fehlian I blended features of my earlier Arthur and Lindau releases. Fehlian is a sturdy yet sophisticated Art Deco style Roman semi-serif. It is an excellent choice for titlings, headlines, labels, shopfronts and any other display usage which needs to be typographically furnished with something special. Moreover, besides the plain Fehlian font you have the option of yet another two wonderfully decorated versions which lend even more beauty to your designs. Note that Fehlian is a capitals-only product. It has no lowercase but the uppercase is completed for multilingual usage and supports every Euro-Latin language.

Original Quality: I often see these words on various objects - from T-shirts to sprinkles and cookies. In fact, I see this term so often that I decided to name a font after it. Original Quality font is an adaptation of an older font of mine called Butterfly Ball. It is a totally different typeface, but I hope it hasn’t lost its original quality… ;-) Comes with all the diacritics you want, plus a handful of cute stylistic alternates.

Introducing Pistoletto script. I was inspired by works of Roy Lichtenstein and Michelangelo Pistoletto. There are 4 fonts that in different combinations make interesting results: Background, Black, Highlight, Regular. Each style supports European languages. Basic latin has uppercase alternates, two lowercase alternates, many ligatures and swashes. I used for display pictures following works of Roy Lichtenstein: Pistol (1964), Engagement Ring (1961), Oh, Jeff...I Love You, Too...But... (1964), Seductive Girl, Yellow Brushstroke I (1965), Brushstroke (1965).

I like cookies. Especially butter cookies and ginger nuts. The word cookie comes from the Dutch word ‘koekje’ - which means exactly the same. Cookie Crumble is a cute little font that I made on a rainy day. I just needed something that looked and sounded happy and I guess it applies to this font. Cookie Crumble comes with a bunch of alternates, a full set of diacritics and a bit of sunshine to chase away your rainy day.

I have been making some clean, connected fonts lately and when I was working on another one of these, I felt the need for something chaotic. So, Scapegoat was born. I used a round nibbed steel pen and Chinese ink and the result is quite a messy font. It may look chaotic, but as Nietzsche once said: ‘from chaos comes order’. Amen to that! Comes with double letter ligatures for the lower case and a whole lot of diacritics.

Hello! I’m SideNote Variable. I specialize in: Annotations Headings Friendly dialogue Social media marketing Looking both smart & casual I’m perfect for descriptions and explanatory text. Use me to deliver tricky information in a helpful, reassuring manner. I look friendly and relaxed but professional enough to make you look awesome. I add personality to otherwise dry information making it fun and easier to understand. I come with all sorts of useful features, like emoji, arrows, and underlines.

I like Carrot Juice a lot. I don’t drink it that often (and I should, really), but nothing beats a freshly squeezed glass of cold carrot juice!! Carrot Juice font is a lovely script font: handmade with love (and a rather cheap Chinese brush pen which I bought online). Carrot Juice will come in handy when you need that handmade look - cookbooks, websites and product packaging spring to mind. Comes with a abundant harvest of diacritics.

I love riding English double decker buses! I haven’t been on one lately, but for some reason I had an image of a red double decker bus in my head when I made this font. Doubledecker is a bold, cartoon-like, handmade font. It comes in regular and dots, plus a bonus doodle font called Doubledecker Stuff. Use it for any design that needs a tad of loud, a pinch of unusual and a wee bit of polka.

Introducing La Coffee Font, a sleek, cool and professional handmade font that is perfect for adding a unique touch to your branding, logos, or your instagram quotes. It includes uppercase, lowercase, numbers, symbols and with Latin extended character support, it is versatile for a variety of creative endeavors, while exuding a rustic charm. La Coffee will look great on invitations, packaging, slideshows, logos, headlines, lettering, posters, branding, inspirational quotes, headlines, magazine layouts, website designs, advertising, invitations, packaging designs, book covers and any other creative endeavour. What's Inside the Product? - Weight of the Font: Regular The Font Kit comes packed with: - Big Letters (Uppercase) - Small Letters (Lowercase) - Numbers & Symbols - Multilingual Support Here's a sneak peek at the characters supported: - All the letters from A-Z (uppercase and lowercase) - All the numbers from 0-9 - All these special characters - !"#$%&'()*+,-./:;=?@[]^_`{|}~ ¡¢£¤¥§¨©ª«­®°±²³´¶¸¹º»¿ˆˇ˜–—‘’‚‛“”„†‡•…‰‹›⁄€™− - And a range of international characters like ­á â à ä å ã æ ç é ê è ë í î ì ï ı ñ ó ô ò ö õ ø œ š ß ú û ù ü ý ÿ ž  À Ä Å Ã Æ Ç É Ê È Ë Í Î Ì Ï Ñ Ó Ô Ò Ö Õ Ø Œ Š Û Ù Ü Ý Ÿ

Love Script came about as a way to finally answer the requests by individuals to take my brush pen/marker lettering styles and turn them into a typeface. Literally, everything lined up perfectly and there was a renewed impetus to push this genre, this style of lettering I have adapted over the years into what will become a series of brush pen/marker typefaces. The first I chose to complete was a high-contrast variant… I seem to be attracted to high contrast, high energy letters (think Lust, Lust Slim and Lust Script). As I was finalizing everything, I kept saying ‘I love this script’, which ultimately led the christening of the typeface as Love Script. For more fun, visit the Love Script Minisite Designer’s note: for this font to truly sing, be sure you have Contextual Alternates on in your OpenType settings. Hope you love it as much as I do.

As as a computer programmer, it is my job to stare at screens of text all day. As soon as I learned the mechanics of font design, I boldly set out to design a typeface from my own handwriting that I could use to make my life easier. First, it had to have very distinctive numerals (trust me, it can be easy to mistake an 8 for a 3 in code), it had to have huge punctuation characters (even Perl code like '[lN*1lK[d2%Sa2/d0' looks good in Debug), and it had to be a bit friendlier than Courier (so that I don't give up hope when my code won't compile). I had so much fun designing it that I decided to give it strange lower-case 'i's and 'm's as a bonus. I also spent far too much time hinting it so that it would look as nice as possible at low resolutions.

You may think cartoon or kids product, when you take a look at Breaze - and you may be right…but I did have retro grafitti in mind, when I drew the letters. Well, actually I may have mixed both cartoon and grafitti! Anyway, it’s a playful font and is suitable for many things!

What excactly is a snacky plop? To be honest, I don't know!!! The name comes out of a wordplay! :) But what I know is that this font is playful, unpredictable and fun to look at and use! I have added 5 different versions of each letter, and they automatically changes as you type!

I like ‘magical’ fonts and it’s been a while since I created one, so here is Fairy Godmother. Hand made, cute and curly and full of magic!

Aldus was designed by Hermann Zapf and appeared with the font foundry D. Stempel AG in Frankfurt am Main in 1954. Zapf named this font after the famous Venetian printer Aldus Manutius, whose work is among the most important of the Renaissance period as well as Zapf’s inspiration for Aldus. Linotype Aldus was introduced by Linotype Library as a text font lighter than Palatino. Zapf’s goal with his Palatino and Aldus was to create a new form of Old Face typeface. This font gives text the feeling of elegance which was typical of the Renaissance.

A blackletter font tending towards the gothic which was released by Klingspor, Offenbach am Main, in 1937. Claudius can be used for clerical as well as for secular purposes and shows a strong character of its own. The original esthetic atrocities of placing the dieresis within the letters A and O - due to former German industry standards - were abolished. Allow the font's beauty spread by giving it enough leading between the lines. This font contains various useful ligatures, and by activating the Ordinals feature and typing 'N', 'o' and period you get an oldstyle numbersign.

Some typefaces are staid, somber design tools. Then again, there's ITC Cinderella from Patricia Lillie: a typeface that's light-footed as a ballerina and joyful as a child at play. “There is a group of display faces that I simply love. Type that just seems to dance, type that makes me smile, designs that, when I see them, I say, "Boy, do I wish that was one of mine" says Lillie. “Although I never wanted to imitate these designs, when Cinderella started to emerge, I felt like it was the closest I've come to that quality.” ITC Cinderella projects gaiety and freedom. Capitals harmonize with a lowercase that bounces along with a lively, carefree attitude. Stroke weight stress is, well, all over the place. Curlicues abound. This delightful design is just that: brimming with delight.

Pounder Fonts were designed by Tom Nikosey / CozyFonts Foundry. This font, as all my fonts started with pencil sketches based on the letter O. Once I arrived at the comfortable shape I worked out the C, G, & Q. The H, M, T matched the visual weight and so I moved on to E & S. As the E & S are 2 of the most repeated characters in fonts' I wanted a little bit extra here. The font is obviously heavy weighted yet very legible and almost architectural in presence. There are flashes of Art Deco yet futuristic style. After sketching the feel of this font I was excited by the possibility of the numerals styling. I can see these used for many applications. Why the title Pounder? Why not it seems to fit.

NewYorkerType was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it in, I just looked at the type and redrew it completely by hand. So it is not just a copy, but rather a redesign. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, but the best. Yours, sincerely honoring Rea Irvin a great type- and magazine-designer Gert Wiescher

Bodoni Classic Deco is against all rules. Giambattista Bodoni himself would probably hate me for doing it; he was a real purist. The whole idea of the Bodoni typeface is no embellishments and here I go and decorate those nice clear letters. Shame on me! But I find this is a very nice and useful typeface for all kinds of cards and certificates. So I just did it for all of you out there that are not born purists, but want a little embellishment to their lives. And to make things worse, I added a Small Caps cut. I even decorated it. Enjoy! Yours, breaking all the rules, Gert Wiescher