Lebensjoy was used by the Co-op chain stores in Sweden for a nationwide fortnightly flyer (called Livsgldje = Joy of Life) during 1993 and 1994. They wanted a simple but still lively and active letterform.

SK Boncuk is a very special font family I designed for my pet. Bead is a very smart and special rabbit. It can understand all commands and do whatever is said. It is very lively and fun in his daily life, but also monotonous. For this reason, I designed a fun font for him, with a single weight but with surprises. This font represents Boncuk's fun but monotonous life. SK Boncuk offers full support for the Latin alphabet and includes all the typographic elements you will need. This font family consists of 8 different fonts and 3288 glyphs and it supports hundreds of different languages thanks to the characters it contains.

Tangent provides a fresh new look on serif dominant typefaces. Its strict graphic outline makes it appear crisp, lively and unsentimental; and at the same time humanistic virtues have also been well taken into account. Tangentd consists of 18 styles. It comes in OpenType format and provides an extended language support. All weights contain standard and discretionary ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternative characters.

Linotype Merlin is part of the Take Type Library, which features the winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. This font was designed by Anne Boskamp and its alphabet consists exclusively of capital letters. At the same time aggressive and sensitive, Merlin looks as though it were scratched onto paper with a pen tip saturated with ink. Like characters from another time, the letters fall into place and make an impression which is both vulnerable and strong, lively and reserved. Merlin’s historical roots lie in the archaic pictograms in the caves of Stone Age civilizations.

Roquette is the work of British designer Martin Wait, a casual all capital wedge serif typeface which brings the 1950s back to life. The undulating baseline and lively spot illustrations of Roquette will pep up any headline.

Cala is a reflection of Venetian Renaissance types but with a contemporary look. It has an energetic profile, achieved through soft outlines and a flowing rhythm. It is lively, remains stable in small sizes and is beautiful in display sizes. Cala comes in eight styles, in OpenType format and with extended language support. All weights contain standard and discretional ligatures, small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

Pina is a typefaced based on Italian signage, incorporating simplified shapes for the letters and unique characters. The barebones S and the perfectly circular O are examples of the type of lettering you'd likely see on awnings. These letters have a thin footprint, and are quite condensed apart from certain letters like O and Q, which gives the font a unique bounce. It includes plenty of alternates, to letters like O, S, Q, R, K, and special ligatures for specific pairs. This font is named after my grandmother from Italy, Josephine, who was a wonderful figure in my life.

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

Angelynn is a beautiful Calligraphy font designed with an incredibly modern feel. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs, and stunning alternates. Use this gorgeous and unique Calligraphy font to bring any DIY project to life!

Description: Snappy Fingers is a remake of a really old font, called Joe Schmoe, which I made for my other foundry years ago. I really like this font, but it needed a lower case and some serious tweaking. Snappy Fingers is a fun, handwritten font. I (now) comes with fantastic language support and a new lease on life!

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit or 25-percent increments increments to keep the grid. The »H« in the font name stands for horizontal (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my Family Kontext Dot

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 50-unit or 25-percent increments to keep the grid. The »V« in the font name stands for vertical (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my family Kontext Dot

Queen is based on the designer's own hand. It is a handwriting font with a difference (just like Affable). It has all the vigor and spontaneity of a hurried note, combined with a skilled and precise joining of characters to give a true cursive script. This font comes in three styles, Queen Regular, Queen Black & Queen Lite. Use Queen for: -- invitations -- advertising material where an informal and personal mood is required -- greeting cards -- menus -- book covers Queen is fully professional, carefully letterspaced and kerned, with line spacing (leading) that allows for accents for use in European languages. All upper and lower case characters, punctuation, numerals and accented characters are present.

Barollo is a boisterous, lively, display family of two typefaces, offered in regular and shaded form. It’s ideal for eye-catching banners and posters that call for clear and forceful type, with a sense of fun and life.

Excited-Alphabets is a lowercase display font. The letterform is sans-serif with a few appendages to give the letters a life-like and cheerful form. Also, each Letter has two poses (i.e. s and S) which makes it easy to design the perfect headline, characters can also be chosen individually from the glyphs menu to get a unique look. Its dynamic or ‘dancing’ look makes it perfect for (short) editorial headlines, celebratory lines, fun branding, social media posts, website headers, posters, ads, products, stationery designs and more. Excited alphabets was born in Frankfurt (Germany) when two ‘almost-neighbours’ met at a coffee shop. Inspired by the illustration of Sumbo Pinheiro, Excited was designed by Harald Geisler and Sumbo Pinheiro. From quirky illustration to font, this was a fun project to work on because each alphabet comes with its own sassy character.

Doodles Too is a new pictogram font from Outside the Line. It features 40 little pictures... odds & ends of this & that. If you liked the font Doodles, Holiday Doodles or Holiday Doodles Too you should love Doodles Too as it is more of the same.

Patricia Pothin-Roesch's Saussa typeface began life as brush-lettered artwork for fruit salad packaging in France. After the key letters had been painted, Patricia Pothin-Roesch switched to digital tools to create the final font. True to its roots, Saussa is a real advertising face, perfect for point-of-purchase displays. Even its name is consistent with its intended area of application: Saussa sounds a lot like the word “sauce.” Saussa is an informal script; its outstrokes function almost like serifs, and the capitals have a lowercase structure. The feelings this typeface conveys are due to the hand of its creator, Patricia Pothin-Roesch, an experienced brush-letterer.