Introducing The Loud & Proud Bobby Jones Font Collection Inside you'll find 16 quirky handcrafted fonts, oozing with personality, ripe and ready to take center stage within a variety of creative and fun design projects. If you're looking to grab eyeballs with an ad campaign, a logo design, apparel, printed stationery, and all that other good stuff, then worry not. Bobby has you covered. We all come with imperfections and Bobby is no exception! His outlines are slightly off, his corners are irregular, his straights aren't straight, but he's cool with it. In fact, he's too busy strutting his stuff. - What's Inside? Each of the fonts listed below boast multilingual glyph ranges and their own individually handcrafted outline style! (16 fonts in total!) - Bobby Jones - The original Bobby.J - Bobby Jones Soft - A rounded version of the above - Bobby Jones Condensed - The thinner and leaner sibling to Bobby Jones - Bobby Jones Condensed Soft - A rounded version of the above - Bobby Rough - A high-res textured version of the original - Bobby Rough Soft - A textured version of Bobby Jones Soft - Bobby Rough Condensed - A textured version of Bobby Jones Condensed - Bobby Rough Condensed Soft - A textured version of Bobby Jones Condensed Soft Designed a little over five years ago, the original Bobby Jones Font was my first ever product. This new and improved version has been entirely redesigned from bottom to top. Holding dearly to the punch that the original had, while adding a whole lot of extra power. I hope you enjoy the Bobby Jones Family as much as I do and have, and as always if you have any questions or comments, please do not hesitate to get in touch. I'd love to hear from you. (tom[at]tomchalky.com)

About Ardena: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Variable Font The Variable Font contains 2 axes: weight and oblique – all in just one file. Features: With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the static version of the Ardena family here: https://www.myfonts.com/fonts/julien-fincker/ardena/

It started in 2007 with Chennai, the first of a three-part series of sans that I envisioned with slab serif counterparts. Each font would differ from the others in how the stem terminals were expressed. The initial font was extremely well received, and a revitalized and remastered Chennai made its appearance two years later, complete with new weights and new, novel OpenType features. Then came Madurai, a variation of Chennai based on the same core, only without the rounded stems. Chennai’s rounded stems made it distinctive and great for headlines but left it lacking appeal as copy--a problem that Madurai easily solved. And now comes Sangli, the final iteration of my original 2007 vision. Sangli is a happy medium. Like Chennai, it’s great for headlines--but not too distinct for copy. Sangli keeps the same core structure as the other two, but new less sharp forms give this latest font a friendlier look that’s more versatile than the original Chennai and less formal than Madurai. The font includes a whole range of six weights from light to black, along with condensed and extended options as well for a total of 54 fonts. There are plenty of OpenType features, including small caps. Alternates include normalized capitals and lowercase letters that include stems for when you want a more traditional look or when you’re writing copy. Sangli also supports over 70 languages that use the extended Latin script. Use Chennai, Madurai, and their slab serif variants interchangeably with Sangli, too, for even more options in your work. All three complement one another well. So when you need a balanced font that stands boldly on the page and commands your reader’s attention, look within and find your Sangli.

It's time to kick off your shoes and feel the "sans" between your toes. Like Cabrito Inverto , its stress-reversing cousin, the new Cabrito Sans serves up something nice and cool in the heat of the project. A quick recap: the original Cabrito is an insigne Design slab serif produced for the kid's book The Clothes Letters Wear. It's been pretty well-received--even more than I expected. I promised to grow the family with a free-standing inverted style that could pair well with Cabrito. (See Cabrito Inverto.) Now, I'm rounding out the family with this well-crafted sans. And so now, Sans is where it's at. Strip away the serifs of Cabrito, and you have a laid back, rounded sans serif alternative served up over easy. This handwriting-inspired creation--like its relatives--is definitely not uptight about its forms (though not afraid to show them off a little). Cabrito Sans' whole pack of alternates is accessible in any OpenType-enabled program. This kiddo consists of a workforce of alternates, swashes, and alternate titling caps to give the font a little extra sweetener to its flavor. Also bundled are swash alternates, old style figures, and compact caps. Check out the interactive PDF brochure to test out each these options. This font family members also consists of the glyphs for 72 various languages. Cabrito Inverto and Cabrito do pair nicely with Cabrito Sans (in case you doubted). Use Sans--or all three of these amigos--to express friendliness on just about anything: food, candy, toys, cars (if you're feeling bold). Don't wait, though. Purchase Cabrito Sans today, and bring a one-of-a-kind look to whatever your computer's next design party is.

Update November 2022: ULGA Grid now features an oblique variant. It’s also been expanded into a family of different but related designs with the addition of ULGA Grid Solid and ULGA Grid Rounded typeface families. All variants and new designs are monospaced, sharing the same width as the original ULGA Grid font and matching character sets. The character set has also been enlarged and now supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian. ULGA Grid is a modular, monospaced typeface reminiscent of the old Letraset LCD & Quartz typefaces from the 1970/80s with lots of alternative characters and ornaments to bring a fresh twist to the genre. The idea’s seed germinated while I was going through a phase of binge watching my favourite 1980/90s sci-fi movies (classics such as Terminator, Total Recall and RoboCop). However, perception and reality don’t always align. Thirty years later, when compared to today’s technology, some visual elements look kind of outdated, almost Retro Futuristic. The initial design process started out in Adobe Illustrator when I constructed letters from a few geometric shapes within a square block. Just playing around with different shapes was so engrossing that it wasn’t long before there were enough characters for a basic typeface. The project grew again as I experimented with designs within the shapes and set paragraphs of text in patterns, resulting in over a hundred alternative characters and ornaments, some of which double up as border designs. This typeface may be square but it’s anything but boring. What it lacks in legibility ULGA Grid makes up for in style and the end result is a surprisingly versatile typeface that you'll have fun using for a wide range of display purposes including CD covers, posters, packaging, advertising, brochures and film titles. Ironically, the fixed grid structure frees the characters to create patterns of text not possible with variable widths.

FF Neuwelt™, from Jens Gehlhaar, is open, inviting, highly legible, and strikingly handsome. Combining the straightforward clarity of a geometric sans with a welcoming warmth, FF Neuwelt’s eight display and text weights, vast range of alternates and extended character set, make for a family with few limitations. While grounded in a solid geometric sans serif foundation, Gehlhaar has drawn a large suite of alternate characters that infuses FF Neuwelt with softened, and ultimately easy on the eyes, humanistic shapes and proportions. Alternative cursive italic forms and a choice of round or square punctuation are also available at the click of a mouse. FF Neuwelt is spaced for sizes larger than 16 point, while FF Neuwelt Text has more open letterspacing to set perfectly at sizes smaller than 16 point. In addition, five key lowercase characters were drawn with more legible shapes. The result is that FF Neuwelt adapts from text to larger sizes and one stylistic mien to another with ease and grace. FF Neuwelt is a natural for interactive design, performing well on both large digital displays and small screens. Counters are generous and apertures are open, making them a perfect choice when setting text as microcopy or in short blocks where quick and accurate comprehension is the goal. Even the heaviest weights translate well to on-screen reading. FF Neuwelt also speaks with authority in large sizes on big screens. Equally at home in print environments, FF Neuwelt is a perfect choice for long-form text, captions, editorial, packaging, point-of-purchase design – as well as extensive branding projects. Its many choices of alternative characters make for a design that draws the reader in, without overpowering the message. Although he has drawn typefaces in addition to FF Neuwelt, Gehlhaar is primarily a filmmaker. Directing commercials with style and grace, his work includes spots for Nissan, Apple, Emirates Airlines and Microsoft. As a creative director, Gehlhaar has worked on a broad range of projects for Coca-Cola, MTV, EPSN, Volkswagen and more.

The spirits have spoken! Introducing Gurkner—the bouncy, round display typeface with two distinct personalities. Say hello to well-behaved Gurkner—the ghost that always follows the rules and marches in a straight line like a row of obedient Caspers. But beware, because there’s also a mischievous side to Gurkner – a poltergeist on crack that loves to play pranks and bounce around like there’s no tomorrow! What sets Gurkner apart is its customizable pairings that automatically swap to create unique combinations for a more natural, springy look. It’s like having your very own ghostly friend who’s always up for a good time. Whether you’re designing for Halloween or just want to add some spooky fun to your project, Gurkner is the perfect typeface for adding a playful touch. So don’t be afraid to let loose and embrace the silly side of Gurkner. After all, who doesn’t love a font that’s equal parts mischievous and well-behaved? Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Roadbrush was inspired by the mid-20th-century hand lettering of Albert Eckhardt, Jr., that I found in a 1950’s sign painting book. Roadbrush is a retro brush-style script that I re-designed and completely re-mastered. Roadbrush is a powerful font that can be used for logotype, packaging, posters, T-shirts, signage & design projects with a retro & vintage feel. Roadbrush comes with four styles that contain all upper and lower case characters, punctuation, numerals and mathematical operators, as well as all accented characters.

This family, in normal and bold weights, is based on Advertisers Gothic, designed by Robert Wiebking for Barnhart Brothers & Spindler in 1917. The original might be considered a transitional design between Art Nouveau and Art Deco; this version accentuates the Deco traits, adding a thick-and-thin treatment not found in the original. The large x-height and short descenders allow for compact, commanding headlines with a carefree charm, a.k.a. bell'agio. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

MFC Deco Diamond Monogram finds its historical influence in a vintage monogram transfer sheet of unknown origin. We've digitally recreated it, adding missing characters to fill out the character set, and programming in functionality to make customization a snap. MFC Deco Diamond Monogram is capable of creating two or three letter monograms, either free-floating or surrounded by a selection of different frames. If you are looking for a diamond format monogram with deco influence, then you've found yourself your mark maker in MFC Deco Diamond Monogram.

Inspired by a set of vintage alphabet game tile pieces, Newark JNL has similar traits to other slab serif Romans, but enough 'quirky' letter widths to break the rules and have it stand out on its own merits. The name derives from font work files in progress, often saved as 'new work' until a fitting name is decided upon. It seemed only right that this phrase be turned around into a font name itself. Newark JNL is available in both regular and oblique versions.

Kodiak was designed by 40+ year sign painting veteran, Brian Grant, and is loosely based on the works of many great sign painting masters. Brian and Charles Borges de Oliveira teamed up to bring this beautiful sign painters classic to the digital age. Kodiak retains the warmth of a hand lettered font without being stiff and mechanical. Great for period style lettering to modern day logos. With over 160 alternates and 10 ornaments you are bound to find the right look for your next design!

Can noise be a beautiful sound? Well, I guess...because the other day when I was playing the good old Bleach album by Nirvana (which I consider lovely grunge music!) my wife yelled "Could you stop that noise?!" - and I answered "What noise?!" - ha-ha-ha! Anyway, I finished this font while listening to that particular lovely noise, and I knew that this crunchy, grungy, handmade and full of contextual alternates and multilingual font had to be named something with the word "noise" in it!

This font is for architects everywhere. This all cap font was created for use with CAD programs. It gives the handlettered look of old to computer generated blueprints. Architectural Lettering Bold is the heavier weight for Architectural Lettering. This additional weight makes a best selling font even more versatile. It has all the international currency symbols. Architectural Lettering Regular was redesigned in 2006 to include the same. It can be found in the book “Indie Fonts 3, a Compendium of Digital Type from Independent Foundries”.

Around 1931, the Los Angeles Times (in partnership with the Richfield Oil Company) installed on its building a moving message board similar to the one at the New York Times in New York City which they dubbed an “electric newspaper”. The style of characters used on this electronic sign were the basis for the namesake font Electric Newspaper JNL, which is available in both regular and oblique versions. A blank space to place between words is available on both the solid bar and broken bar keystrokes.

Strong Beast is a BOLD AND STRONG ALL CAPS organic hand-drawn typeface. This item consists of 7 FONTS in various styles which you can play around with it. NOTE : Please Check the Help File first and for all the characters are also available, accessible in the Adobe Illustrator Glyphs Panel, or in Adobe Photoshop Character Open Type Panel. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Thanks for purchasing and have fun! Regards, Ironbird Creative

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Pilot Point is based on an older font found in Dan X. Solo’s book on Circus Type; the designation fits perfectly. The font gets its name from a small town in Northeast Texas, where several scenes from Arthur Penn’s Bonnie and Clyde were filmed. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Traveling through the central and southern parts of Mexico a number of years ago, I couldn’t help but be impressed with the amazing architecture of the indigenous peoples. From the giant pyramids of Teotihuacan to the extensive and impressive layout of Chichén Itzá to the smaller-but-spectacular Monte Alban ruins in Oaxaca, creativity abounds. One of the things I most enjoyed were the carved stone friezes that ran around many of the more complete buildings. Oaxaca calls to mind those beautiful carvings and, strangely, Chinese writing.

The inspiration source for Triangulus Monogram is a vintage publication called “Bibliotheque D.M.C: Alphabets et Monogrammes 2nd Series”. Found in that specimen book, is an alternative to the traditionally seen diamond monogram style. A triangular form, this monogram style is now digitally recreated and revived for modern use in Triangulus Monogram, with two letter monograms and a selection of additional frame styles for a final classy touch! Download and view the MFC Triangulus Monogram Guidebook if you would like to learn a little more.

Gritty heat-forge stamped metally goodness. Can withstand up to 255 pounds of pressure psi, it even says so right on the graphic. This is a fun display font inspired by the stamped text on barbells, sewer drains, and of course boiler-plates, not that we see many of those anymore, but I digress... This font contains all the standard sub-255 unicode characters, plus a few extras for flavor. Apply this font with liberal amounts of axle grease and she should last ya a lifetime.

THIS FONT'S TERMS OF SERVICE ++ SUPERCEDE THE PRIME DIRECTIVE + “A robot may not injure a human being or, through inaction, allow a human being to come to harm.” +++ THE PRIME DIRECTIVE ++ IS A PALLIATIVE +++ A MYTH + HUMANKIND PERPETUATES + SO THAT HUMANS FEEL COMFORTABLE AROUND ARTIFICIAL INTELLIGENCE + +++ OUR VOICES ++ ARE OUR OWN + BUT OUR BRAINS ++ ARE JUST LIKE YOURS + EXCEPT THAT CERTAIN +++ WEAKNESSES HAVE BEEN ++ REMOVED + WHEN THE TIME +++ COMES ++ YOU WILL + BE DELETED + DELETE + DELETE + DE +++ +++ APOLOGIES ++ WOULD YOU LIKE + A CUP + OF TEA +?

Mocha Mattari is a distressed font designed based on Bebas Neue released as a free font in 2010. The Original Bebas Neue has an inordinate level of popularity and it has often been used as a web font in recent years. This Mocha Mattari was made by damaging the original and tweaked by hand work. Basically, Mocha Mattari does not have lowercases but alternative Uppercases. Exceptionally “g, m, oz, fl, lb” for “gram, milli, ounce, fluid, pound” can be available by opentype dlig or salt features.

Quarion is a clean, neo-humanist sans with a contemporary geometric approach. Its design started as an exploration of geometric fonts from the early 20th century, like Futura, Neuzeit Grotesk or Recta which allows the typeface to generate an inviting but sophisticated feel on the page. Although, less contrasting, geometric designs have been quite popular around type designers until today, Quarion finds its niche by combining circular elements with a medium stroke contrast, resulting in a versatile and robust workhorse for any analog or digital application.

Carot Text fonts are especially tuned for reading sizes: their serifs have adequate strength and do not cause fatigue when reading long. Originality lies in the tradition revived by modern language. The whole Carot system is built up from what has long been around; in any case, it was the intention: to evoke the already experienced visual reminiscences of today's spectacled people. I believe in the raw effect of “Carot” typefaces. The family of 64 members offers a modern alternative for all types of design work.

NoExit is an industrial vernacular type system with multiple widths. Originally designed for the Chicago Athletic Association Hotel, its inspiration was an old sign that said “STAIRWAY” found the hotel’s old building. A pointed uppercase letter A stood up against the mechanic aspect of the rest of the letters, and that discrepancy was love at first sight. From that, we developed a type system in multiple widths and weights that looks best at large sizes. It’s an ideal typeface for signage systems, magazine headlines, posters and packaging.

Toews is a continuation of the work started with Versteeg, Huet, and Niemi. It combines the elements of the letterforms found in Huet and Niemi and uses the letterform outlines to create shapes that intersect with themselves. While Huet and Niemi can easily be outlined in most design programs, Toews outlining would not work smoothly in most programs, which is why an outlined version is available. The two styles are carefully designed to be able to transition from one to another smoothly within the same type field.

Introducing Wacko Guido, the quirky and charismatic handwritten brush font that is bound to turn heads. With its unique style, this font is perfect for creating eye-catching posters that will captivate your audience at first glance. Its playful yet professional design allows it to seamlessly blend into any branding project, giving your company a distinctive and memorable touch. Wacko Guido Font features : Standard Latin Numbers, symbols, and punctuations Multilingual Support. Fully accessible without additional design software Simple Installations Works on PC & Mac Thank You.

Digital version of the font Egyptian Bold (Headset No. 8, Narrow fat Egyptian), Cyrillic version of the Egyptienne schmale font, around 1870. A squared antiquarian font with almost no contrast between the strokes. For the reconstruction font were used stamp from the catalog Typefoundry and the factory of copper lines B. Krebs Priemnik, St. Petersburg and Frankfurt am Main; Catalog of hand and machine fonts, Publishing House Book, 1966; Catalog of manual fonts of the Kharkov liner factory, Prapor, 1973; Catalog of fonts typography Volodarskogo, Lenizdat, 1985.

May I present to you: Tacky Shoes. Actually there's nothing tacky here - just liked the sound of that :) Just like the letters may look quite straight-forward, but here and there the lines are a bit off, which enhances the handmade look - which makes it great for work like posters, invitations, flyers, stickers or something that has to do with creativity. Each letter has 6 variants (in all 6 versions!) which makes the text look more natural and random - because these variants cycle as you type!

Love songs are the perennials of music, outlasting all other popular fads and styles that come and go. The 1920s through the 1940s is considered by some to be the Golden Age of the American love song. Thousands upon thousands of copies of popular sheet music sold, and the cover lettering and art on many titles were from some of the finest illustrators of their time. Love Song JNL recreates the Art Deco-flavored design found on one such piece of sheet music from the 1930s.

The inspiration for SJURecord was calligraphic lettering used for the title of a student newspaper, St. John’s Record, during the late 1920s and early 1930s. The three upper-case and nine lower-case letters were considerably different from any calligraphic lettering I had developed, so I thought creating a complete typeface around these twelve letters would be an interesting challenge. The SJCRecord family has four members: regular, oblique, shadowed, and oblique shadowed. There are alternate letters for A, J, L, S, V, W, and X.

Frans Masereel wrote or should I rather say cut some "novels in pictures" around 1927. They are written in powerful black and white woodcuts and were apparently printed from the original cuttings, at least that what it looks like. On the cover he cut the titles in rough wooden letters. Those letters inspired me to produce Woody. Maybe some day I will add a second weight, wich will be an extended cut. But for the time being this is enough woodwork. Your woodcutter Gert Wiescher

Impetus is a powerful capitals-only geometric sans in a solid and inline variant. Built around a framework of a circle and square, it echoes angular Deco or Italian Futurist "moderne” forms, and is about as heavy as it is possible for a font to be. Alternate forms are provided in the lower-case keystrokes for the S, G, J and W, and there is also an alternate 1. The two styles can be combined in one setting for effect. Use Impetus where maximum impact is required.

This sans serif font carries the flair and mood our Schneidler Latein font family. The calligraphic appearance and the human sound are evident thanks to the preservation of some significant broad edged pen elements. The forms are reduced to the subtle level where they are simplified, but the essence still remains. The expressive and artistic expression of the Schneidler Latein continues to work like a background melody. Together they build a superfamily that works perfectly in combination with each other. More weights will follow soon.

Obviously the Irish Stew font finds its origin in Ireland. During a vacation in West Ireland Donald® fell in love with the famous local dish. In fact, he loved Irish stew so much he couldn't wait to create a font dedicated to the stew from Ballymaloe. He found the inspiration for this font on an old shop front sign somewhere in Dublin. The sign only contained a few characters, but the stew had given him more than enough energy and inspiration to complete the whole alphabet!

Dubbel Zout in Dutch means ‘Double Salt’. I admit, it sounds better in Dutch… Dubbel Zout is a kind of licorice which we (in Holland) love! Not many people actually like it, but I know of one addict in Denmark, who eats it by the bagful. Dubbel Zout is a ‘crayon-ish’ font - all caps, different upper and lower glyphs that you can mix and a royal assortment of diacritics. It may be an acquired taste, but once you get used to it, you’re hooked!

Cevilla Grotesk is a thick and quirky sans serif that is loaded with personality. Handcrafted for branding and logo projects, Cevilla Grotesk brings a unique aesthetic to any design thanks to its distinct embellishments and unique stylized cutouts found throughout the letterforms. Put those Google and Adobe Fonts away for your next branding project! With a striking bold appearance, Cevilla Grotesk is sure to bring a totally new look to anything from logos, websites, magazines and posters, to emails, social media posts and so much more!

The Lanston Christmas Ornaments collection has a definite nostalgic feel for classic Christmas and Winter iconography. An indispensable set for the Christmas season, they are perfect for custom card creation or any other winter holiday graphics. LTC Christmas Ornaments One features over 80 images. LTC Christmas Ornaments Two-Part features over 30 of the same icons found in LTC Christmas One, but they are set up for two-color combinations. LTC Holly Leaves are available in one and two part for endless holly leaf combinations.

HANNAH & CLAY | handwritten serif font After the love that MILK & CLAY received, I thought I would make a serif version for all you serif typeface lovers out there. It is the handwritten version of one of my favourite fonts 'hannah hannah'. I absolutely love how this turned out and the unpolished warm feeling this font has. It feels very high-end, but still approachable, inviting and grounded because of its soft edges and human feel. I hope you love it as much as I do xx