Bohemio was designed in memory of Gunter Böhmer, an artist famous for his many book covers of the 1950s in Germany. The cover I took as an inspiration for this font is that of a book called Stiller (by Max Frisch). Bohemio sounds similar to "Böhmer" (which means the one from Bohemia) and it is also an alliteration to artisty. I thought "Bohemio" to be a nice name for this very strong, almost expressionist design. Yours very artsy craftsy Gert Wiescher

Inky Fingers… Well, the name says it all! This rather obese font was made by hand (literally) using my index finger, some sheets of paper and a lot of Chinese ink. As the eco-paper absorbed quite a lot of ink, I had to do a second ink-run! Inky Fingers is a very legible typeface, ideal for headlines, books and posters. It comes with Babylonian language support - including the Schwa/schwa glyphs for the Azeri speaking crowd. Ain't I nice?

This is definitely a font suitable for kids toys. The letters are legible, and at the same time totally wacky! Kinda like what a kids toy should be! Fidusmager started out as a handdrawn, slightly rugged looking fon. However I ended up manually tracing each letter in order to have those smooth lines. By the way, Fidusmager is danish and actually means someone who’ll trick you - but as a kid I didn’t know that, and found that it most likely was something positive! :)

Do you remember that kid from Lord of the Flies? Why do I even remember that kid, I’m too young for that. However, his name was Piggy, and I wanted to make a typeface that resembled him. So this is my tribute to Piggy who got killed by that falling plastic rock in the movie. May he live forever through this typeface, on birthday cards, or maybe some sweet candy packaging or why not through an graphic identity for a toy company?

Some years ago I designed Chalfont as a sans face. All the characters have a top heavy look when viewed straight on, however, as most type is read at an angle with the top further away than the bottom, this top heavy look is diminished. Chalfont Roman, although re-drawn with some alterations, is still basically the same face but with a top left serif giving more emphasis to the top heavy characteristics. I have also added a set of non ranging numerals.

Franz Fiebiger (1880 - 1932) was an Austrian painter and designer who was associated with the Vienna Secession. In 1908 he created a beautiful poster for the Kaiserjubiläums Möbel Ausstellung - a furniture exhibition during the Kaiser's Jubilee. Fiebiger Zwei (meaning Fiebiger Two) is the second font based on one of the hand made typefaces gracing this poster. As I had to work with only a few glyphs, I designed the missing ones myself. Fiebiger Zwei comes with language support befitting a Kaiser...

I've had mixed feelings about Kabel; It is a brilliant headline font with a lot of character, but it's the characters I have problems with. The versions of all big foundries have the same flaws (in my opinion), especially lowecase a and s. So I finally went ahead and made an all new version. It is not Kabel, but very much like it. It has unique x-height, weight and width, and many individual characters are also different from the original.

Doggybag is a font based on a text I found on a long-standing rock and roll record in a thrift store. Using several characters, I completed the font, vectorized and digitized it into a thoroughly modern font. The font is ideal to use as a display font, for rock bands, posters, T-shirts, postcards, etc. In short, Doggybag is an indispensable font for all your graphic works or projects. Lastly, it is a font for an eye-catching design. Enjoy Doggybag!

Hibagon is the Japanese equivalent of the Yeti from the Himalayas, or Bigfoot from North America. It is usually sighted on Mt. Hiba (Hiroshima prefecture), hence the name. I have never seen Hibagon myself, even though I have visited Hiroshima several times. Hibagon font is a nice, handpainted, all caps font with a mythical feel to it. It probably won’t scare you, but it will look good on anything that needs a bit of brushwork, or a bit of roughness.

🏆 Selected for Tipos Latinos 8. 🏆 Selected for the 12th Biennial of Brazilian Graphic Design. Malva was designed to perform as a branding element, providing a clean look for visual identities and publications. It brings a touch of friendliness to the communication without compromising the professional look every brand strives for. Legibility was one of the top concerns during the development of Malva, so we took special care to differentiate the naturally ambiguous characters I, i, l and 1.

Texas Chili is a modified version of our Philadelphian font family. With Texas Chili we've squared the curved inside brackets from the Philadelphian font which helps open up the inside of some letters for a sharper appearance. The Texas Chili font family also includes a Unicase i that's balanced to the weight of the uppercase. You need an application such as Adobe Creative Suite or any other Opentype aware program to access the alternate Unicase i in the Chili font family.

The font design of TG Yane is inspired by my service design for a coffee brand, taking the coffee logo as the design origin. I supplemented the remaining letters, making the font suitable for applications in the catering, cosmetics, luxury goods, and other industries. The lines are soft and very creative. The entire character set is designed with the capital letter "O" as a circular element, ensuring a unified design language. I look forward to seeing it applied to your brand.

Darker Marker is just what the name suggests: I found a very big fat marker in a local stationary store, bought it, came home and went to work on this font. Darker Marker is a very clear, very easy to read marker font. It is all caps, but upper and lower case differ and can be interchanged. Darth Vader would have said: “come to the dark side” and I believe you should. Darker Marker comes preloaded with all the diacritics you need.

Aderyn is a hand drawn, elegant font with a light touch to it. Aderyn is soft and sleek, but also comes in bolder styles to give a little extra oomph to your designs. Aderyn is Welsh for 'bird', a language I meant to master, but never took beyond 'good morning', 'bird' and 'cat'. I know, it's pathetic… Aderyn comes in 12 styles, all of which have kerning, stylistic and contextual alternates for both lower and upper case letters. It even has a smiley!

In October 2010 I released a font called “Zanoix” It was based upon a an old horror movie poster. I looked through and old folder, and found the font that served as a base for this the grungy font. Zonaix is opposite to Zanoix, because it is super clean, pointy and is made entirely of straight lines! With the sharp pointed serifs and whacky lines, it is a good choice for a legible seriffed font - not necessarily for anything scary!

I love peanuts! Actually I eat peanuts every day, in the shape of Peanut Butter ... and it kind of slaps me in the face with energy and good taste! What a good way to start the day! The same thing could fit to this font: a good way to start your day is with a good design ... using my Peanut Slap font: Mix the 3 versions with your favourite colorscheme, play around with the transparency...and voila! Great results awaits you!

Bluenote is a font based on Franklin Gothic condensed. In the 60s and 70s the record label Blue Note published all those classic jazz records of my youth. Someone at their arts department cut letters to ribbons and designed wonderful record covers with those fragmented glyphs. I recently had a look at my music collection and rediscovered these letters. Being a hard-working type designer I couldn't resist the challenge, here is the result from your dilligent designer Gert Wiescher

Liner Notes is a fun scrawly, marker felt, ALL CAPS display font. I wanted it to look fun, loud, and to have hints of School graffiti, so it can wail from Posters and Headlines. It has over 260 glyphs and several variations on the standard alphabet and all those extra pésk¥ foreign features. It also has various letters with extra ligatures and flourishes available through OpenType or your Glyphs palette. OMG, LOL I also added some web slang to the glyphs.

Comicraft first created this font, based on the unique European lettering style of Ladronn, for the Marvel X-book CABLE in 1998. It was later upgraded for THE INHUMANS mini-series, and modified again for the HIP FLASK mini-series in 2002. In 2018, we Remastered it for the new LOST IN SPACE series from Legendary, with improved spacing and kerning, an additional Bold weight, and our patented Crossbar I Technology to automatically place the crossbar I in the right spots.

Summit rehashes both Circuitry Fonts, combining them into one font. To further modernize Summit, I have included all the characters required for full character set. Regular with Small Caps. Summit includes all punctuations, numerals, diacritics and special characters. The oringinal Circuitry Font was inspired by the printing on electronic circuit boards, it was interesting that most all printed font-strokes were either 90 or 45 degrees. I have kept most if not all of these angles while simultaneously giving it a contemporary feel.

Popsmart means "smart or skilled in a superficial, self-righteous or annoying way" - but when I was young in the 1980ies, it was a positive thing to be popsmart. At least in Denmark! :) Anyway, I find this font to be smart in a positive way: It has a bouncy appearance ( with help from the Contextual Alternates, the font cycles the 6 different versions of each letter!) and a "go-ahead-and-type-anything-and-it-will-end-up-looking-good" kinda vibe.

Early in my career as a graphic designer I purchased a book on Japanese packaging. With it, I came to notice that Japanese characters used mostly a modicum of strokes. This font was my attempt at trying to balance the familiarity of a Latin alphabet with the unfamiliarity of Kanji and Kana. It was more of a typographical challenge than usual; since going too much in either direction would defeat the purpose. I would like to think that, for the most part, I got the balance right. Sakura has a glyph count of 389 and supports the following languages Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

With all ego aside, Romp was designed and influenced by my daughter, Angel. For some time now, she has wanted me to design a font based on her handwriting. But each time I sit down to do it, I run into more that she needs to do and redo. On a recent attempt, I ran into the same situation again. Instead of moving on to something else, I decided to whip out a sumi brush and start making letters...for me, type design is something a little ‘serious’ and never a time to just have fun. This typeface proved that notion wrong—it really was fun. As a result, each letter encouraged another and the design grew...and grew! The happy result spawned 3 separate sets of letters & numerals (small caps and some ligatures too!). Using the beauty of OpenType, these 3 sets have been fused into one, randomly generating font set. If you are using any type of OpenType enabled application, then the Romp Pro typeface is the way to go. They include everything found in the 3 separate variants for each style as well as entirely expanding offering of additional small cap and ligature sets.

I had a totally different name assigned to this font at first. Then, while drifting off to sleep one night during the creation process, my sleepy brain said, "You know, BLORP would be a great name to go with these letter shapes." Normally when I have those half-asleep ideas and look at them in the morning, they make no sense. But I decided to make a sample image for BLORP, and it turns out I really like it! So ... BLORP it is! This font is extensively edited for super-smooth lines and curves, so it'll cut like butter in your Cricut or Silhouette machine. Though it's also super cute for print projects, logos, branding, or anything else you want to use it for! It has a funky mix of letter sizes and heights, and two sets of uppercase letters, so you can mix everything together JuSt LikE tHIs, and it'll still look great! BLORP includes over 300 extended Latin characters for language support, including, but not limited to: Catalan, Czech, Danish, Esperanto, Estonian, Finnish, French, Gaelic, German, Icelandic, Irish, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Romanian, Serbian (Latin), Slovak, Slovenian, Spanish, Swedish, Turkish, Welsh, and more!

Katastrofe is danish for … well, catastrophe - you may have guessed that! This font was almost a catastrophe to make! I cut out all the letters in a cardboard, and went outside to spray the letters with a spraycan. Everything went smooth as planned, but suddenly the wind started to blow and the papers started to fly away! Luckily I found some stones I used to make the papers stay in place. Lucky for me - otherwise it would have been a catastrophe! Seconds after finishing this font project, it started to rain…I just avoided a catastrophe! But is this font really a catastrophe, or does it just mimic punk/spray/grunge/riot? Make your own statements using Katastrofe, or perhaps your very own punk sayings like “Punk is not dead”, “Anarchy Rebel” or what suits you the best. Whatever you choose to write, you will definitely get that real punk look! Perhaps you could even do a t-shirt print that says “Katastrofe” :) Comes with different upper and lowercase letters along with alternate versions of each letter - and of course a lot of foreign letters, because punk is not dead and punk is universal!

‘Thwaites’ typeface is fully dedicated to one of my best Canadian friends who I do cherish and value highly. This great and industrious Canadian friend is ‘James Douglas Thwaites’ who lives along with his good-natured family in British Columbia, Canada. For me, James is like a source of inspiration and I do consider him as an ideal in my life. Our strong friendship has started since 1999 and I hope that it will endure just to the last moment of my life. Sometimes I see him as the writer and poet that I learn a lot from, sometimes I see him as a devoted religious minister that I try to understand more about his teachings, and other times I see him as the educator that I strive to imitate verbatim in my life. When I want to talk more about this Canadian friend, I will not be able to give him his due in full. Thus, I will instead mention some excerpts of his biography that he wrote himself saying that: “James D. Thwaites is a self-accomplished man. Having worked in various fields including restaurant management and cleaning, he has achieved his goals of being a full-time teacher, past-time writer, and volunteer religious minister for the Christian Congregation of Jehovah's Witnesses. His personal and academic pursuits have led him to be published in various magazines, newspapers, self-published books, and websites, including his now defunct ‘poetryofthemonth.com’ website. He continues to learn and augment the craft of writing while working primarily in early literacy and delayed literacy learners, teaching reading and literature to a wide age range of students. He views his religious endeavors as an extension of his academic ones. He teaches others both as a public speaker and in one-on-one situations, teaching about the benefits of submission to God and to His teachings. His future goals include expanding his ministry and continuing his writing.” The name ‘Thwaites’ itself comes from Great Britain and originated from the last Viking raids upon England, being an Anglicized version of a Scandinavian term meaning—depending on the source material—either "a place that is difficult to approach" or "a small thicket of trees." Another recitation mentions that ‘Thwaites’ can be described also as an English surname but one of pre 7th century Norse-Viking origins. It may be either topographical or locational, and is derived from the word "thveit", meaning a clearing or farm. As a locational surname it originates from any one of the various places called "Thwaite", found in several parts of Northern England and East Anglia to the south. The various modern spelling forms include Thwaite, Thwaites, Thwaytes, Thoytes, Twaite, Twatt, Twaites, Tweats and Twite. The name, although often appearing unique to outsiders, can often be found within other famous names like Braithwaite, Goldthwaites, or Misslethwaites. With various spellings, some families not including the ‘e’ or the ‘s’ at the end, Thwaites and its derivations—although not exceedingly common—is a name found worldwide. ‘Thwaites’ typeface is simply a sans-serif streamlined, stylish, and versatile font. It is designed using a combination of thick and thin strokes for its +585 characters. Its character set supports nearly most of the Central, Eastern, and Western European languages using Latin scripts including the Irish language. The typeface is appropriate for any type of typographic and graphic designs in web, print, and other media. It is also absolutely preferable to be used in the wide fields related to publication, press, services, and production industries. It can create a very impressive impact when used in headlines, posters, titles, products’ surfaces, logos, medical packages, product and corporate branding, and also signage. It has also both of lining and old-style numerals which makes it more suitable for any printing or designing purposes. ‘Thwaites’ typeface is really the cannot-miss choice for anyone who wants to possess unique artistic and modern designs produced using this streamlined typeface.

There is plenty of lyric and literature about looking over one's shoulder in contemplation. What would you have done differently if you knew then what you know now? This is the kind of question that comes out of nowhere. When it does and whether its context is personal or professional make very little difference. It's a question that can cause emotions to rise and passions to run hot. It can trigger priority shifts and identity crises. It's never easy to answer. Three years ago, I published a font called Semilla. My aim with that was to distill the work of Bentele, a lettering artist from early 1950s Germany. Picking such an obscure figure back then was my way of pondering the meaning and efficiency of objectivity in a world where real human events and existences are inevitably filtered through decades of unavoidably subjective written, printed and oral history. And maybe to pat myself on the back for surviving surprises mild and pleasant. Having been fortunate enough to follow my professional whims for quite some time now, I took another, longer look at my idea of distilling Bentele's work again. I suppose the concepts of established history and objectivity can become quite malleable when personal experience is added to the mix. I say that because there I was, three years later, second-guessing myself and opining that Bentele's work can be distilled differently, in a manner more suited to current cultural angles. So I embarked on that mission, and Bowling Script is the result. I realize that it's difficult to reconcile this soft and happy calligraphic outcome with the introspection I've blathered about so far, but it is what is. I guess even self-created first world problems need to be resolved somehow, and the resolution can happen in mysterious ways. Bowling Script is what people who like my work would expect from me. It's yet another script loaded with all kinds of alternation, swashing and over-the-top stuff. All of that is in here. These days I think I just do all that stuff without even blinking. But there are two additional twists. The more noticeable one is ornamental: The stroke endings in the main font are of the typical sharp and curly variety found in sign painting, while the other font complements that with ball endings, sometimes with an added-on-afterwards impression rather than an extension of the actual stroke. In the philosophical terms I was mumbling earlier, this is the equivalent of alternate realities in a world of historical reduxes that by their very nature can never properly translate original fact. The second twist has to do with the disruption of angular rhythm in calligraphic alphabets. Of course, this is the kind of lettering where the very concept of rhythm can be quite flexible, but it still counts for something, and experimenting with angular white space in a project of a very dense footprint was irresistible. After playing for a bit, I decided that it would interesting to include the option of using optically back-slanted forms in the fonts. Most scripts out there, including mine, have a rhythm sonically comparable to four-to-the-floor club beats. So the weirdly angled stuff here is your chance to do the occasional drumroll. Everyone knows we need one of those sometimes. Bowling Script and Bowling Script Balls fonts comes with 1600 characters and features extended Latin-based language support. There are also a basic version of both fonts without all the alternates and extra OpenType features. Bowling family ships in cross-platform OpenType format. We also want to present “Mute”, a visual essay narated by Tomás García and Valentín Muro, about digital life created specially to introduce Bowling Script.

FG Noel works great at small and large sizes. I can imagine a kids' book with this font and it will be perfect for cute quotations on greeting cards.

FG Adam turned out (it always is like that) a bit crazy with the baseline shift it makes a good greeting card font. I like it and it's fun!

Handwritten with care, and made bold and consistent with an art deco flair. If I owned a classy diner, this is how I'd like my chalkboard menus to look.

FG Muriel is an all-caps font with different letters for caps and lowercase which can be combined to make it look like true handwriting. I love this font!

I made this cartoon book font in my own handwriting. This type of font is great for writing comic stories, children's games, and is perfect for making cartoon movies.

Astria is a swinging script, that works best in short headlines or as a decorative Element. I like it when the lines overlap, with letters flowing into each other.

Taco is a new Mexican style font family based on our Tavern and Algerian Mesa type designs. When I finished the extra heavier weights for Tavern I decided to play around with a decorated version, the extra bold letters allowed for much more room to work with an inlay pattern. After experimenting with several designs I decided on a Mexican pattern because the original base font is very popular in Mexican restaurant logos and menus plus it's frequently used on Tequila bottle labels. I originally planned three weights for the Taco font family, however, after completing the bold weight I've decided to release it now so you may put it to use while the regular and extra bold are being produced, sorry I can't estimate a release date for the two other weights. To use the fill font layers you'll need an application that allows you to work in layers such as Adobe Creative Suite products. The Taco Fill Uno font may be used as a stand alone font, however, we recommend searching for our Tavern font family where you'll find three different bold weights of this same design. Opentype features aware applications are also needed for accessing the many alternate glyphs in Taco, all the alternates that you love in our Tavern fonts are also available in Taco. While the fill font layers are in registration with one another some applications may throw them out of alignment by changing the spacing. Custom inter letter spacing in Adobe Creative Suite may also throw the fill fonts out of alignment. We recommend doing your custom spacing first then duplicate the type layer and change to the next fill font and color. The inspiration for the Taco name of this font family was from a homemade Taco dinner I made for a guest at my house, after dinner I searched to see if there was a commercial font named Taco. There was no such font named Taco and the rest is history. The old Stephenson Blake Algerian font has come a long way since 1908, and we're not done with it yet. We hope you enjoy our Taco font family, we're looking forward to see it in use.

When Candy Script was officially released and in the hands of a few designers, I was in the middle of a three-week trip in North America. After returning to Buenos Aires, I found a few reactions to the font in my inbox. Alongside the congratulatory notes, flattering samples of the face in use, and the inevitable three or four “How do I use it?” emails, one interesting note asked me to consider an italic counterpart. 

I had experimented with a few different angles during the initial brainstorming of the concept but never really thought of Candy Script as an upright italic character set. A few trials confirmed to me that an italic Candy Script would be a bad idea. However, some of these trials showed conceptual promise of their own, so I decided to pursue them and see where they would go. Initially, it seemed a few changes to the Candy Script forms would work well at angles ranging from 18 to 24 degrees, but as the typeface evolved, I realized all the forms had to be modified considerably for a typeface of this style to work as both a digital font and a true emulation of real hand-lettering. Those were the pre-birth contractions of the idea for this font. I called it Sugar Pie because it has a sweet taste similar to Candy Script, mostly due to its round-to-sharp terminal concept. This in turn echoes the concept of the clean brush scripts found in the different film type processes of late 1960s and early 1970s.
 
While Candy Script’s main visual appeal counts on the loops, swashes, and stroke extensions working within a concept of casual form variation, Sugar Pie is artistically a straightforward packaging typeface. Its many ligatures and alternates are just as visually effective as Candy Script’s but in a subtler and less pronounced fashion. The alternates and ligatures in Sugar Pie offer many nice variations on the main character set. Use them to achieve the right degree of softness you desire for your design. Take a look of the How to use PDF file in our gallery section for inspiration.

Gutter Pigeon is not your every-day Ransom-kind-of-font! The prices of making it was really simple: I only used my phone and computer. I took pictures of letter from newspapers, magazines, bookcovers, candybars, movieposters, roadsigns, etc. In the beginning, It was easy to find new letters. But as I had the initial letters, it became quite a search for the missing letters. Not a hard job, you may think - but this font has 8 different versions of each letter! That's 26 lowercase glyphs and 26 uppercase glyphs...8 times! That's more than 400 glyphs! And on top of that comes numbers and punctuation! Go crazy with Gutter Pigeon! Actually, that is not very hard, because the font automatically cycles through the 8 different versions of each letter while you type! Upper- and lowercase in a wild mix!

Mystical Woods is a script and caps font duo. I went back to the basics for this one -- ink and a brush on paper. I cleaned up the letters enough so that there are no jagged edges, but left enough of the character to keep that inky look -- those are the Rough fonts. Then I went back through again and cleaned the heck out of them, making every line and curve smooth for our cut-crafting friends -- those are the Smooth fonts. Since these two fonts were written together with the same tools and style, you can also mix the script letters in with the caps letters! Each font comes with a full set of standard characters and punctuation, as well as over 300 extended Latin characters for language support. And the script fonts also have 45 double-letter ligatures!

I want to create a font, which is very elegant. So I made Danizatti Script, a kind of classic decorative script with a modern twist. This is a display font intended for vintage logos, fashion labels, custom card headers, badges, food packaging designs, especially wine labels. Actually a lot of great style was consumed when creating this type :) there are 300 fancy letter and punctuation glyphs. I also offer a number of viable stylistic alternatives for multiple letters. NOTE, that you will get full access to font options only in Open Type smart applications like InDesign or Illustrator. You can find more about how to access OpenType features in Adobe Apps here: http://fontfeed.com/archives/opentype-in-adobe-creative-suite-the-raiders-of-the-lost-glyphs-pt_1/ Check out my other elegant script fonts at the my frofile

At this time I found the Album of monograms – a guide for doing handicrafts in families and educational institutions. It was published in St. Petersburg in 18ХХ. Finally, I found an authentic English style monograms set. These monograms are characterized thin swirled lines and lush foliage patterns. I manually redesigned and vectorized two sets of alphabets (narrow and wide) and happy to introduce you Marriage Monograms font. You’ll get the set includes Wide and Narrow capitals, so you can make your own monogram, by combining letters you want. +SVG file as well. Please note, you should use graphic applications such as Adobe Illustrator or Photoshop, but not Microsoft Word. All you need is place the Narrow one on top of the Wide one. Please feel free to request any help you need: kaer.pro@gmail.com All the best, Roman.