Zombie Brush is a haunting script font that brings the undead to life with its eerie charm and brush-style appearance. Designed intentionally in large letters, this typeface commands attention and exudes a sense of horror and intrigue. Each letter is meticulously crafted with brush-like strokes, adding a touch of handcrafted artistry to the font. The brush-style appearance of this font evokes a sense of chaos and unpredictability, as if the letters were created by an unsteady hand under the influence of dark forces. The large size of the letters enhances the font's imposing presence, making it impossible to ignore. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Zombie Brush fits in headlines, logos, movie posters, flyers, branding materials, print media, editorial layouts, headers, and zombie-themed projects. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Rossaline Handwritten is a lovely script font of which characteristics are the connections between letters to look like a naturally connected handwriting that leaves the impression of this font being organically, spontaneously written in order to add a firm personal touch. This font has various line thicknesses to show high letter contrasts to strengthen the font’s firm, clear impressions. Besides, the letters’ height variety, meaning that some of the letters are higher than the others, makes Rossaline Handwritten more interesting and dynamic. However, the connected letters can cause difficulty to read in small text sizes, so that you need to be more careful to use this font by adjusting it to your needs. In addition, you may enjoy the available features here as well. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Rossaline Handwritten fits best for various design projects, such as brandings, quotes, invitations, name cards, greeting cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Cursive Signa Script Variable, quite possibly the first true cursive and signature variable font. It has 90 styles that range between weight, slant and alternates. It can be use in a lot of projects, like logos, end of a statement, pairing with a beautiful sans serif like Aleante, in a title, invites and so on. Designed by Pedro Alexandre Teixeira

Like Marker Felt or Comic Sans, Art Club has that informal/playful feel. Only this time its made to look and feel like it was written using a paint brush at your local after-school art club. Next time you want to add that cheerful spice to your Art Club Syllabus, or ANY syllabus, look no further than Art Club (the font).

Rashela is a Decorative Serif Display Font, Modern, Luxury, and Elegant Come with 2 (two) styles (regular & italic) and is created with glyph variations like alternates and ligatures. Perfect for your design projects like logos, branding, advertising, product designs, stationery, photography, art quotes, wedding designs, fashion designs, and more. Featured with Uppercase and Lowercase, Numeral and Punctuation, Multilingual Support, and Opentype Features.

profonts Oxford was originally designed by Christine Lord in 1960 and digitally re-mastered by profonts in 2009. The font contains lower case characters only. It is a multi-line display design with a continuous connecting horizontal line that combines all characters. This combination makes it special and very sporty. profonts Oxford is ideal for any design of sporting character.

Bernadetta is a Modern Classic & Beautiful Display Serif Font Come with 2 (two) styles (regular & italic) and is created with glyph variations like alternates and ligatures. Perfect for your design projects like logos, branding, advertising, product designs, stationery, photography, art quotes, wedding designs, fashion designs, and more. Featured with Uppercase and Lowercase, Numeral and Punctuation, Multilingual Support, and Opentype Features.

GaoYah Display Thin is a type in very thin line, GaoYah means Elegance in Mandarin, some characters build in unique shapes can make a good memory. This font is suitable for huge titles display, in which way the line and detail shows elegance. It will make good performance in dark background as well. Including Basic English and Western Europe languages.

Gevenda is a Modern Classic Display Serif Font, Luxury, Elegant, and versatile. Come in 2 (two) styles (regular & italic) and is created with glyph variations like alternates and ligatures. Perfect for your design projects like logos, branding, advertising, product designs, stationery, photography, art quotes, wedding designs, fashion designs, and more. Featured with Uppercase and Lowercase, Numeral and Punctuation, Multilingual Support, and Opentype Features.

Meila Arabic is sibling of Meila with the addition of Arabic glyphs, for Arabic, Urdu, and Farsi. Still carrying a childish character with a cheerful font, visually featuring bold and cute characters. Meila has smooth lines on each side, especially on the outside, almost no sharp corners. On the inside there is only one line that functions as a counter space.

Klondike began life as an update of the discontinued Elemeno font Pourpoint. It took on a life of its own early in the design process and went in a completely different direction. Standard Klondike is best at very large sizes and evokes a disco or neon feel. Klondike Solid works at smaller sizes to compliment the regular version or on its own.

Since their first appearance as Italians on the pages of the 1821 William Caslon type specimens, reverse contrast typefaces have been typography's best loved quirky outcasts. Subverting the traditional relationship between thick verticals and thin horizontals made them perfect for eye-catching advertisements. The unexpected contrasts and the thick slabs produced by reverse-contrast serifs became ubiquitous in period posters, and synonymous with wild west and circus iconography. In designing Stinger, the Zetafonts design team composed by Maria Chiara Fantini, Andrea Tartarelli and Francesco Canovaro and orchestrated by Cosimo Lorenzo Pancini decided to marry this subversive tradition with the workhorse approach of modernist sans serif typefaces like Univers, developing a super-family with four widths, each in five different weights, from thin to heavy. This gives the designer a full range of options for type setting, with the Normal and Fit widths providing two different text-sized alternatives, the wide width adding display and titling options and the Slim ready to deal with the space-saving necessities of extremely long texts. True italics have been added developed for all weights and variants, bringing the Stinger family to a total of 40 fonts, with a latin extended + Russian Cyrillic character set covering over 200 languages, and open type features including positional numbers, stylistic sets and alternate forms. In the crowded panorama of contemporary grotesque typefaces, all aiming to stark geometric perfection, Stinger stands out with its bold choices and strong personality. From the calligraphy-inspired terminals in the thin weights to the logo-ready sculptural approach in the heavy weights, each variant manages to look striking without forgetting the readability and flexibility lessons of modern reverse-contrast classics like those designed by Excoffon or Novarese. A variable version is included with the full family, allowing maximum flexibility and control for the designer over the wide range of expression capabilities of the Stinger super family.

The typeface Rough Stamp Times is designed from 2016–2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on the original rubber stamps from flea market. The font started from 50+ stamps (analog) and was finally digitalize and extended to 600+ glyphs (digital). 4 font-styles (Rough, Clean, Misprint, Impact) with 601 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (9 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Rough Stamp Times ■ Font Styles: 4 (Rough, Clean, Misprint, Impact) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 601 glyphs incl. extras like icons (decorative extras like arrows, dingbats, emojis, symbols) ■ Design Date: 2016–2022 ■ Type Desi­gner: Manuel Viergutz

Melister font is the new elegant font! This font is specially made for those of you who need an elegant touch to design your next project with perfect and stunning results. Melister is equipped with lines such as hand strokes which are very suitable for various purposes. Such as title, signature, logo, correspondence, wedding invitation, letterhead, nameplate, label, newsletter, poster, badge, Branding, Greeting Card, etc. So beautiful on invitations like greeting cards, and more!!! Melister includes alternate glyphs and beautifully renders fonts including set styles, ligatures, etc. The Open Type feature can be accessed using intelligent Open Type programs such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7 and Microsoft Word. And this font has provided PUA unicode (custom code font). so that all alternative characters can be easily accessed in full by craftsmen or designers. If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Version, you can access all the alternative glyphs using Font Book (Mac) or Character Map (Windows). Thanks and love designing :-)

OMG! I never thought I'd finish this font! Actually, the idea came to me in the late 1990-ies, but the sketches lied at the bottom of the "fonts I will complete one day In the future" pile ... also called "fonts I most likely won't complete...EVER" pile! :) Anyway, I started up with letters for both upper and lowercase, no numbers or punctuation. I figured if people ever purchased this font, all they would need were upper- or lowercase letters. But the rest of the glyphs seemed to miss out, so I made the numbers and some punctuation. But I still found the font incomplete...therefore I redid all the punctuation (from "standard" punctuation to "picturish" punctuation) and added two additional sets of letters. Meaning that there is 4 different versions of letters to choose from: 2 different lowercase, and 2 different lowercase. I had a lot of fun drawing this font, and some fun doing the detective work finding out how the MANY lettershapes should look! I hop you too have fun using this font! :)

This handwritten font was brought to our attention by one of our customers. Tom Bernard Anyz had offered his handwriting font at dafont.com, a free-font portal for private customers where Toms Handwritten is enjoying great popularity. We liked the design at first glance – it is so innocent and sketch-like, similar to a quick note or message. We reworked and completed Toms Handwritten for professional usage. Apart from the already available Latin character set for West and East, we also added Greek and Cyrillic.

In this modern era, sometimes being bold is not enough. Sometimes you need to go BOLDER! So here comes the Liquorstore Bolder font family, the long awaited sequel to the popular Liquorstore industrial, geometric display font. This new bolder font family features multiple styles that work on their own or as overlapping layers to create stunning multi-color typography. Chromatic layering effects are created with inline, outline, bi-line, and tri-line styles can be used together to create extra impactful words in your logos and headlines.

Rigular Script has inspirated from retro style and funky designs like signs and old poster. This font comes with an extra extrude to make the font look more retro/unique and save your time on making it. Font has an opentype features that allow you to modify it as you like as needed. Andala perfect for poster, logo, book covers, tshirt designs, packaging and more. Features : Uppercase Lowercase Number Punctuation Ligature Multilingual Language PUA encode Opentype Features Just enjoy with our product! Thank you

Manaline includes a hand lettering look that is attractive and natural. Every single letter has been carefully crafted to make your text look beautiful. This font includes over 233 glyphs, including over 30 alternate characters with swashes. It has over 60 extended Latin characters for language support. This font is suitable for invitation, branding, advertising, classic design, poster design etc, and also this font is PUA encoded so all characters are accessible via Character Map, Font Book, or the font management program of your choice.

Happy Christmas Party is a playful and quirky display font. I made this font especially for Christmas and holidays. This font has 5 decoration versions: regular, decor, deer, snow and star. These decorations are related to Christmas decorations, making this font the perfect fit for any Christmas-themed activity / project. Happy Christmas Party perfect for crafter, gift, tshirt, card event, anniversary, birthday,greeting cards, logotype, branding, poster, packaging, stationery, website, and any other projects requiring a handwritten and luxurious touch. This font is also support multi language.

Ole is a retro jazz inspired font with clean lines and a classic style. Use it big to fully appreciate the extreme nature of its design.

Mosca means 'fly' in Spanish - the flying type, not the one in your jeans…). The font is quite lively, loose and elegant at the same time.

Orthotopes is reminiscent of that ever-familiar 70s style sci-fi font whose name I cannot recall and probably doesn't look a thing like this anyway.

The name says it all. HunkaSpunk is whimsical, eye-catching, and fun. Download and use this cool TrueType font for lively scrapbook journaling and paper crafting.

This font has the same uppercase and lowercase letters with some modifications on the uppercase letters. I included the modified letters to use however you like.

The Logansport, Indiana Pharos-Observer dated June 12, 1917 had the following headline running across its front page: “American Steamer Sunk by German U Boat”. The condensed slab serif typeface used to set that headline has been recreated digitally as Newspaper Publisher JNL, and is available in both regular and oblique versions.

Solastion is a signature style font that looks both bold and sheer. An elegant looking font and lots of unique characters like natural hand strokes. – Font feature Uppercase, Lowercase, Numerals & Punctuations, Stylistic Alt, Stylistic Set, Swash Ligature, Multilanguage

This font family includes six very unique font styles & weights. The font styles are applicable for any type of graphic design - web, print, motion graphics, etc. and perfect for t-shirts and other items like posters and logos.

The font Speech Bubbles offers a convenient way to integrate text and image. While the font can be used to design comics, it also gives the typographer a tool to make text speak – to give words conversational dynamics and to emphasize visually the sound of the message. The font includes a total of seventy outlines and seventy bubble backgrounds selected from a survey of historic forms. What follows is a discussion of my process researching and developing the font, as well as a few user suggestions. My work on the Speech Bubbles font began with historic research. My first resource was a close friend who is a successful German comic artist. I had previously worked with him to transform his lettering art into an OpenType font. This allowed his publishing house to easily translate cartoons from German to other languages without the need to use another font, like Helvetica rounded. My friend showed me the most exciting, outstanding and graphically appealing speech bubbles from his library. I looked at early strips from Schulz (Peanuts), Bill Waterson (Calvin & Hobes), Hergé (TinTin), Franquin, as well as Walt Disney. The most inspiring was the early Krazy Kat and Ignatz (around 1915) from George Herriman. I also studied 1980’s classics Dave Gibbon’s Watchmen, Frank Miller’s Ronin and Alan Moore and David Lloyd’s V for Vandetta. Contemporary work was also a part of my research—like Liniers from Macanudo and work of Ralf König. With this overview in mind I began to work from scratch. I tried to distill the typical essence of each author’s or era’s speech bubbles style into my font. In the end I limited my work down to the seventy strongest images. An important aspect of the design process was examining each artist’s speech bubble outlines. In some cases they are carefully inked, as in most of the 80’s work. In others, such as with Herriman, they are fast drawn with a rough impetus. The form can be dynamic and round (Schultz) with a variable stroke width, or straight inked with no form contrast (Hergé). Since most outlines also carry the character of the tool that they are made with, I chose to separate the outline from the speech bubble fill-in or background. 
This technical decision offers interesting creative possibilities. For example, the font user can apply a slight offset from fill-in to outline, as it is typical to early comic strips, in which there are often print misalignments. Also, rather than work in the classic white background with black outline, one can work with colors. Many tonal outcomes are possible by contrasting the fill-in and outline color. The Speech Bubbles font offers a dynamic and quick way to flavor information while conveying a message. How is something said? Loudly? With a tint of shyness? Does a rather small message take up a lot of space? The font’s extensive survey of historic comic designs in an assembly that is useful for both pure comic purposes or more complex typographic projects. Use Speech Bubbles to give your message the right impact in your poster, ad or composition.

Epilepsja is an all-caps type family perfect for display works. It has been derived from stencil-sprayed and painted letters in the city space. The glyphs are simple but unordinary. Every letter has something from 3D illusion, but is flat simultaneously. The main feature and asset of this family is the ability to create multicolor text. Epilepsja consists of three styles: Outline, Solid and Fill. Outline is the base from which the other two styles are created. When you mix Solid with Fill, you can create two-color Outline style. Solid is neat and legible in small sizes. There are alternative uppercase/lowercase characters, digits, diacritics of western, central and southeastern Europe and Africa, punctuation and symbols including currency. Use it for posters, headlines, magazines, websites or anything you like.

The source of inspiration for Vice Monogram is an Art Deco letterset (capitals only) from a 1915 publication by Cartier-Bresson of Paris containing classic and modern monogram patterns for embroidery. This Art Deco monogram style has been redrawn, balanced, and brought into the digital age for your type-setting use and enjoyment. Vice Monogram can create one-, two-, or three-letter monograms as well as basic headline and titling settings. By default, Vice Monogram types in a horizontal format, but by utilizing Opentype Contextual Alternates, you can typeset in a three smallcap or smallcap-Capital-smallcap diagonal format as well! It is a refined vintage look that is perfect for a wide array of classic personalization settings. Download and view the MFC Vice Monogram Guidebook if you would like to learn a little more.

A former lettering artist at Hallmark Cards, Rob Leuschke now has his own thriving design businesses, Alphabytes and the new TypeSETit. Growing up in St Charles, Missouri, where he still lives, Rob showed great artistic promise at an early age. He earned a BFA in graphic design at the University of Missouri at Columbia. After graduation, his stint at Hallmark Cards gave him the opportunity to learn from and work with some of the best lettering artists in the industry. Rob struck out on his own in 1987 and now boasts a long list of clients from all over the world. Rob has created over 250 custom typefaces, and his work has been exhibited in New York. Ambiance BT is Rob’s first typeface published by Bitstream, with more to follow.

DF Pigtail is the result of a curious marriage of the 'free'-form of writing with the fixed (mono) space for each character of the typewriter typeface. In the early sixties of the last century, typewriter typography became popular as a Fluxus vocabulary. The Fluxus art movement (in fact a Dada like follow up) which encouraged a do it yourself aesthetic, and valued simplicity over complexity and anti commercialism over the conventional market-driven approach. I was educated in the mid seventies when this form of typography was still very popular and was even applied in corporate design. This particular letter has been used by my teacher Jan Begeer to compose his design assignments. Recently I rediscovered this type and was struck by its pigtail similarity and drew it my way.

He's rough around the edges, but he's an outlaw from the Old West, what did you expect? He's Saratoga Slim, a playful shaken up dust devil of a typeface. With a shaken appearance and rough hewn letters, he steps onto the scene, yet is clearly legible to read. He's alot like a one of those ruffigans that is crude around the edges, but when he looks at you and says, "Get what I'm saying partner?", you know exactly what he means. Put some rough and tumble type into your designs with Saratoga Slim. He's been through the ringer a few times but keeps coming back for more. Isn't that what you look for when you create a design...durability...? Here it is, Saratoga Slim, looking at you! Get it today!

In 2011, while tutoring an exercise on Slab Serifs, Josema discovered Robert Thorne’s work for Thorowgood. Specifically, he was fascinated by the extraordinary density of the 6-line Egyptian Pica from 1820-21. As a simple exercise, he wanted to test the limits of readability within the context of a contemporary alphabet. Rothwood Ultra is the result of this experiment. As a way of developing the series, he found it interesting to go to the opposite end of the spectrum and discover how to evolve the extra-black Ultra’s DNA into a super lightweight model. The Hairline and Thin styles are her slim sisters. The third challenge has been the creation of the text version. Light, Book, DemiBold and Bold, including italics and Small Caps close the Rothwood cycle for editorial use.

Almost every type designer feels the need, from time to time, to interrupt his or her serious work on complex text type systems for something more playful. In Luc(as)'s case this has often meant designing more typefaces. In the early 1990s, while working on Thesis, Luc(as) drew several display faces which were based on the shapes of TheSans but were either de(con)structive versions or experimental variations. Probably the most innovative of these was Nebulae, in which the lettershapes have been dissolved into clouds of bubbles; the three versions can be layered to obtain a denser (and more legible) structure which can also be multi-coloured. A fourth version called ThreeDee (3D) offers a convincing simulation of three-dimensional bubble-like type floating in space.

Emulating real handwriting has always been an aim of font designers in the digital age. The standard mainstream scripts and doodles that were available for the longest time have not successfully reached that goal. A letter always looked the same wherever you placed it. Some workarounds, such as letter alternates and ligatures, were used in many fonts, but they were a bit inconvenient to use, and in some cases didn't work correctly because they had to be placed in separate fonts from the main character set. Not until now, with OpenType technology, have we been able to emulate real handwriting, by including multiple character sets in the same font and programming it for smart form changes through letter sequence counting. Secret Scrypt was the first Canada Type font to make it to the bestseller list in the summer of 2004. In early 2005 a New York restaurant chain picked Secret Scrypt to use on its menus and internal signage, but they wanted to look even more like real handwriting, where two or three instances of the same letter used in one word would automatically change and look different from each other. Using OpenType technology, Canada Type produced a Secret Scrypt Pro for that restaurant chain under the direction of Mucca Design in New York City. That initial version contained three different character sets in the same font, and some intelligent programming that determines the sequence of the letters and change their shapes accordingly. Now the retail version of Secret Scrypt Pro is available, with four character sets built into the font for even more variety on the real handwriting theme. Make sure to check out the Secret Scrypt Pro PDF in the MyFonts gallery for tips on using Secret Scrypt Pro. Secret Scrypt is perfect for menus, handwritten notes, theater programmes, charity organization posters, and any design that attempts to get close to people with the personal magic of real handwriting.