Hiragino Serif (Mincho) is a font adapted for the digital age. It was designed to permit finely detailed tuning that allows the sizes of both kanji and kana to be adjusted for greatest visibility. It also broadly satisfies the needs of modern graphic design in advertising, posters, pamphlets, magazines, and other such uses. The font makes the counters comfortably wide while gracefully raising the text's center of balance, ensuring that the typeset characters will be smooth and well-defined. It gives each line a modern impression thanks to a judicious balance of light and shade and draws out a vivid readability that makes it possible to comfortable push forward with one’s reading. Latin alphabet and numbers have all been originally designed so that the weights of typeface and the flow of the baseline between Japanese and Latin characters are extremely consistent. Of particular note, vertically formatted text that mixes both Japanese and Latin characters can be beautifully rendered using only this typeface. Thanks to the use of authentic and sophisticated basic design , it creates a different atmosphere by combination of optional unique kana typefaces.

ITC Avant Garde Gothic¿ was designed by Herb Lubalin and Tom Carnase in 1970. They based it on Lubalin¿s logo for Avant Garde Magazine - an exciting construction of overlapping and tightly-set geometric capitals. ITC Avant Garde is a geometric sans serif; meaning the basic shapes are constructed from circles and straight lines, much like the work from the 1920s German Bauhaus movement. The early versions of ITC Avant Garde became well-known for their many unique alternates and ligatures that still conjure up the typographic aura of the 1970s. These fonts contain the basic alphabets (without the old unusual ligatures). Still strong and modern looking, ITC Avant Garde has become a solid staple in the repertoire of today's graphic designer. The large, open counters and tall x-heights seem friendly, and help to make this family work well for short texts and headlines. The condensed weights were drawn by Ed Benguiat in 1974, and the obliques were designed by Andr¿ G¿rtler, Erich Gschwind and Christian Mengelt in 1977. ITC Avant Garde¿ Mono is a monospaced version done by Ned Bunnel in 1983.

Diaconia Old Style is a new rendition of my workhorse body copy font that I originally designed to use for the body copy of "Printing in a Digital World." I became increasingly upset with the lack of lowercase numbers and true small caps. Diaconia started life as a modification of one of the Dutch Bible fonts I traced. It has changed a lot since then (although I have a hard time telling how much because I have lost the original). The plain and italic work especially well when used in very large sizes as display faces. The other four variants (small caps, heavy, heavy italic, and black) are designed for use in book production. Because I format all my own books, I was able to design fonts that met my needs exactly: lowercase numbers, SMALL CAPS font, Mac Command, Option, and Control symbols, ballot box in the section slot, and several other special characters. DiaconiaPro is the OpenType family of my body copy workhorse. This is the first font family I ever created: classic, elegant, easy to read. 583 characters: small caps, oldstyle figures, numerators, denominators, lining figures, accents and a lot more.

An inkstone, a brush, ink, and paper. In China, one speaks of “wenfang sibao” — the four treasures of the scholar’s study. With these centuries-old hand tools, Werner Schneider created a calligraphic type trilogy of the highest aesthetic order; he named this typeface family after Buddha’s stepbrother, Sunetta. Sunetta is an outstanding choice for contemporary display type purposes. Its combination of lively forms overcome sterile text passages, lending them a more personal note and feeling. But Sunetta is not only recommended for documents bestowing distinction and accolades; the fonts are superb for shorter text passages as well. Sunetta’s spirited flow raises it above the fray that so many generic letterforms find themselves mired in, creating an unforgettable impression. Sunetta’s three complementary styles, Sunetta Flair, Sunetta Charme, and Sunetta Magic, offer three varying degrees of calligraphic verve. The family’s base font, Sunetta Flair, harkens back to the showcard lettering styles of the 1950s, while remaining distinctly European in taste. Sunetta Charme has a more swash-type appearance, while Sunetta Magic is joyfully decorative — its brush-written strokes dance across the line. Together, they may help you reach typographic nirvana.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! You want a playful serif font. Something elegant and charming, but still lighthearted , fun and cheerful with a dash of mischief? Introducing The Wickyfest, a playful serif font with a classic tone. If your next project requires a playful touch, you'll love this collection of special characters and features. The Wickyfest style is incredibly well-crafted, resulting in versatile characters that can present a dashing display for your branding designs and ads. For more extravagant projects, try The Wickyfest for children-related graphics, like book covers, movie titles, or posters. Download The Wickyfest Now and make your designs more memorable. String together words that spell out who you are - not just what you do. Sharpen the image of your company or give your online presence a touch of class and charm. Don’t be afraid to let your clients see there’s more to business than just that bottom line. A Million Thanks www.colllabstudio.com

Qonihy is a modern serif typeface that is ideal for projects that require a classic yet contemporary look. Its characteristics allow you to express your creativity. Every character in Qonihy is meticulously designed, with precise and elegant lines that give the impression of luxury and professionalism. This font is appropriate for a wide range of design demands, including book designs, logos, and product packaging. Qonihy’s combination of narrow and bold serifs creates a strong and dominant impression while remaining easy to read. With the available character alternatives, you can easily customize the appearance of your text and make your projects more creative and unique. Qonihy’s multilingual support allows you to easily reach a worldwide audience and deliver your content in many languages. So, if you want to create visually appealing and elegant projects, Qonihy is the way to go. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Southern Hills calligraphy an elegant new font! This font is made especially for those of you who need a touch of elegance to design your next project with perfect and amazing results. Southern Hills is equipped with lines that are perfect for use for various purposes. Such as titles, signatures, logos, correspondence, wedding invitations, letterhead, sign boards, labels, bulletins, posters, badges, Branding, Greeting Cards, etc. So beautiful on invitations like greeting cards, and more !! Southern Hills includes alternative glyphs and stirs beautifully in fonts including set styles, ligatures etc. The Open Type feature can be accessed by using Open Type savvy programs such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7 and Microsoft Word. And this font has provided a unicode PUA (special code font). so all alternative characters can be easily accessed in full by craftsmen or designers. If you do not have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Version, you can access all alternative glyphs using Font Book (Mac) or Character Map (Windows). If you have questions, don't hesitate to contact me via Gmail: Cooldesignlab@gmail.com. Thank you and love to design :-)

Hevanola – A Marker Brush Script Font Hevanola, an alluring marker brush script font, embodies a distinctive blend of spontaneity and grace. With its free-flowing strokes and handcrafted aesthetic, Hevanola effortlessly captures the essence of natural, expressive writing. The font’s marker-inspired design infuses a sense of authenticity, as if each character was meticulously crafted by a skilled artist’s hand. The dynamic interplay of thick and thin lines, coupled with its slightly slanted and fluid letterforms, imparts a lively and energetic quality to Hevanola. This script font is well-suited for projects that seek a personal touch, radiating a modern yet timeless appeal that brings warmth and character to any design endeavor. Whether used in branding, invitations, or creative displays, Hevanola adds a touch of vibrant personality and casual sophistication to the visual narrative. Hevanola is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Finding the right fonts for your projects is a challenge because improper fonts will deliver improper messages resulting in unprofessional appearances. Therefore, Trafit is here as your problem solver. This is Trafit, a perfect font to show luxury, class, and eternity. Trafit is an outstandingly designed stylish serif font. Its soft, clean lines and indentations show elegant impressions for your prominent designs. Its letter edges have hooks like the other serif fonts. The simple shapes and even sizes help to make it legible. Due to the great legibility, this font is applicable for any text sizes and length. In addition, you can enjoy the features available here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Trafit fits best for various design projects, such as brandings, posters, banners, greeting cards, magazine covers, quotes, 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.

The major focus of my life and ministry at this point is book design. In the brave new world of 21st century self-publishing a new paradigm has arisen: the indie small shop. One of the problems is that all books are published as ebooks, and many books are published only as ebooks. There are two problems with this: character availability and licensing. The licensing problem is solved by including an ebook license with all of the Librum E fonts. The character availability is the core of the design. OpenType features do not work yet with ePUBs [though it is in the spec, if I understand correctly]. Kerning doesn't work, and so on. So these five fonts have only the 256-character [or less] ASCII set. A separate small caps is included. It has lining figures {proportional} and small caps instead of the graphics. The other four fonts have graphics to give bullet choices in lists, oldstyle figures {proportional}, and care given to character shapes so they will work better without kerning. For a great deal, see Librum Book Design Group , for a package containing all fifteen fonts!

Kornelis de Vries, a headmaster from the Dutch province of Friesland, cultivated new potato breeds that he named after pupils in his school. In the early 1900s he came up with the tasty Bintje (a Frisian girl’s name) and it became a big success – in Belgium and France it has remained the most popular potato for french fries to this day, more than a century since its introduction. Donald Roos took 10 kilos of fresh Bintje potatoes and cut the Bint typeface by hand with a short, sharp knife. He then inked each character once and printed it twice; the second, lighter printing is accommodated in the lower case alphabet. The Bint family offers a script to make the letters bounce up and down the baseline; with OpenType functionality the font randomly chooses each character from the upper- or lowercase alphabet. ‘Tabular lining figures’ will activate a series of negative numerals in boxes; ‘Discretionary ligatures’ activates specially designed letter combinations like ‘www’ as well as arrows and stars. Bint has a distinct, slightly rough handmade appearance, making it useful for a wide range of designs.

Shelflife is a display typeface with some extras under the lid. It features all the Standard Open-Type features you'd expect, like Class Kerning and Ligatures, plus some other useful additions and of course accented characters for most European languages and others. In essence it's an easy-to-read headline font with clean lines and a bit of character. There's an outline version that can be layered with the standard version to give the shadow effect seen in the accompanying graphics, simplicity itself to do. There's boxed headlines for SALE, SPECIAL, DISCOUNT (20 in total) all ready-made, plus some which can be tilted at an angle, and done automatically - just easily typed in; easy-to-do bullet numbers; a choice of square or rounded dots on j,ffi, and so on in Stylistic Alternatives; and shorter alternatives for U and N with accents. Details are included in the zip files. The zip file will contain both the OTF and TTF versions of the font. Install only one version, either the OTF or TTF, but not both - otherwise you will get all sorts of incompatibility issues and problems.

A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street’s own Grotesque Shaded of 1834 (with light and shadow reversed). The idea of a shaded font is of an outline font whose letters have each been extruded through a die and then viewed from the lower right to reveal the third dimension. That third dimension has also been referred to as a shadow. Vincent Figgins' 1815-release of a shaded serif typeface was the first known of many shaded faces, as the other foundries rushed to bring out their own versions. Thorowgood Sans Shaded may be gainfully used today as a eye-catching headline font, just as it was so popularly used in the early nineteenth century. To assist with the usual all-cap letter-spacing problem, the following pre-kerned pairs are included: AT, AV, AW and AY. Be sure to download the Type Specimen showing the full character set, as well as a sample text. Live large - use it boldly.

Mundane information—the sort you might ignore—often appears in the form of very simple, utilitarian lettering, devoid of personality, the sort of industrial lettering you find on old blueprints, park restrooms, and electrical boxes. MVB Diazo is such a thing. It looks like lettering done earnestly with a plastic template. The monoline caps—constructed from straight lines and simple curves—have rounded details as if rendered by a blunt pen on a topographical survey or by a router on a rustic campground sign. The MVB Diazo fonts are compact, available in two widths: Condensed and Extra Condensed. Each width offers four weights from Light to Black. The fonts are perfect for wherever plain and boring letterforms are required. All widths and weights are also available in two distressed textures (#1 and #2) that accentuate the industrial character of the design. Rough #1 is gritty, with finer texture for use at larger sizes. Rough #2 exhibits more damage, the roughness apparent when used at smaller sizes. The Rough fonts include alternates of a number of glyphs so that variation of texture is possible when letters repeat in a word.

This script font was inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae [...], author Francesco Filfelo, circa 1509. The original font contains all lower case characters, except w, eth, thorn, lslash, oslash and so... and almost upper case. In addition, one set of small lombardic initials were also nearly complete. It take place instead of the Bold style (in only one package)offering a real and rare complete historical printing set... The original small "a" hight was 2,8 mm !, the upper case hight no more than nearly 5 mm, the initials hight almost 15 mm, covering nearly two lines. This font includes "long s", naturally, as typically medieval and also a few ligatures, but not any variants. We have entirely recreated some characters, upper, lower and initials, to fill gaps. It is used as variously as web-site titles, posters and fliers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, menus, certificates, as a very decorative, elegant and unusual font, besides its historical scrupulous reality... This font supports enlargement as well as small size.

Felfel is an Arabic typeface inspired by the rich history of the Arabic Ruq’ah, one of the most widely used Arabic calligraphy styles, but with a modern pinch influenced by the visual identity of Egyptian streets. Born from the fundamental need in the Arabic design scene, Felfel is made to celebrate the elegance and timeliness of Arabic calligraphy while solving the problem of the cascading nature of Ruq’ah that results in increased line spacing. Felfel is space-friendly, perfect for headlines and quotes. Felfel supports major Arabic-script-based languages and covers Arabic, Hindu, and Farsi numbers. Like Traditional Ruq'a, Felfel works with the same context, but it adjusts to your needs without the rigidity of Ruqa’ah’s slanted baseline to give you the flow, beauty, and richness of the Arabic calligraphy with a modern feel. Felfel is dynamic. A substantial part of the font is based on versatile components, that minimizes characters and maximizes possibilities. the dots are in motion! They rotate from and to horizontal and vertical form, based on the word to match the calligraphy and the context, also the dots and marks move up and down, left and right to prevent all kinds of overlapping.

Introducing "Grosin," a captivating typeface that seamlessly merges the timeless elegance of Art Deco with a modern, condensed form. This font embodies the essence of sophistication, offering a perfect blend of retro aesthetics and contemporary appeal. Grosin's condensed design is a nod to efficiency, allowing it to make a bold statement even in limited space. Its sleek lines and geometric precision capture the essence of Art Deco, evoking the glamour and elegance of a bygone era while maintaining a distinctly modern feel. With Grosin, each character exudes a sense of refined simplicity, making it an ideal choice for conveying a sleek and stylish impression. The font's condensed nature ensures versatility, making it well-suited for a range of applications, from titles and headlines to posters and modern art projects. The beauty of Grosin lies in its ability to transport your designs into a harmonious blend of past and present. Whether you're aiming for a retro-inspired aesthetic or a modern twist on classic design, Grosin stands as a testament to the enduring allure of Art Deco, breathing new life into your creative endeavors. Choose Grosin for a typeface that effortlessly bridges the gap between nostalgia and contemporary chic.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

Frogurt is a soft, plump, rounded slab serif font full of fun! Its fat curves make me think of frozen yogurt, and I've always preferred the shorthand "frogurt" to "fro-yo." I was inspired by a 30-year-old hand-carved wooden sign; when I went to try to find a font with a similar look, I couldn't really find anything soft and funky enough! It was a real Goldilocks situation: that one was too thin, that one's corners were too sharp, that one's baseline was too strict. So since I couldn't find something I liked, I made something I liked! I gave Frogurt big pillowy slab serifs, a slightly irregular baseline, and just enough tilt and variation to be fun while still keeping things really clean and readable. The outlines are cleaned up and sharp, so Frogurt will work well for both printing and cutting. Frogurt clocks in with just over 570 glyphs total, including all of the basics (A-Z, a-z, 0-9, and a ton of punctuation), plus over 310 extended Latin characters for language support, and over 50 alternates and ligatures to add some variety and flair. Frogurt is PUA-encoded for easy access to all characters.

Heller Sans JNL is based on the main letterforms of an experimental alphabet designed by Steven Heller; noted author of over 170 books on design and visual culture. Some modifications were made in turning his design into a digital font. In his own words, here is the background to this typeface: “I recently recovered this from the junk heap. It is a yellowing photostat of my first and only typeface design (1969-70). Total folly! At the time I was smitten by Art Moderne lettering. I called it “Klaus Boobala Bold” because I liked the K and B. I’ve lost the letters S through Z, which were made. The letters were drawn with compass, Techno pen (that frequently clogged). as well as a triangle and T-square. The inline and outline made no real logical sense. I based the design, in part, on Kabel, Avant Garde and it was a product of whatever I could accomplish with those tools. The caps-only alphabet was photographed and produced as a film negative that was cut in foot-long strips and spliced to fit on a Typositor reel. Sadly, the negatives made for the font were too brittle and the splice snapped apart in the Typositor. I worked on it for well over a month and used the face only once. I realized with this attempt, like so many other times I attempted different challenges, that type design — indeed mechanical drawing — was not my strong suit.” Heller Sans JNL is available in both regular and oblique versions.

Bunday Clean is a minimalist and friendly font family with different moods. It drops everything unnecessary like spurs and ears and appears crisp and contemporary with a slightly squarish touch. Like the other members of the superfamily (Bunday™ Sans and Bunday™ Slab), Bunday Clean provides uprights, a second set of styles with characters that reference handwritten cursive. These curvy styles give words a distinct look and are especially attractive for use in display applications and logotype design. Bunday™ Clean is space-saving and creates a homogenous text color with good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media. It ships with 9 standard, 9 upright, and the corresponding italic styles from a considerably thin hairline to a quite thick heavy. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localized forms, and much more. Feature Summary*: -4 Moods: Normal, Upright, Italic and Upright Italic -9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy -Supports at least 99 Languages incl. eastern european -Overall width: Narrow or Space-Saving -Advanced f- ligature set including fb -Discretionary s- and c- ligatures -Alternative Characters: a, e, f, g, l, t, y, A, E, F, L, and more -Capital German Eszett -Extra characters with Polish Kreska -Catalan Punt Volat -More than 570 characters per font * Some features may only be available in OpenType®-savvy applications Please, take a look at the other Bunday superfamily members: Bunday™ Sans Bunday™ Slab

Brouwerij means Brewery in Dutch. I just liked the name and it seemed to fit the font quite well. As for me, believe it or not, I’m not a beer drinker! I can’t understand why people go nuts when the word beer is mentioned. Like it is something special (after all, it is the third most consumed beverage after water and tea). Like you are not a man when you don’t drink beer! Brouwerij is a pleasant all caps font that comes with interesting swashes for the upper class letters. You can (obviously) use it to promote your home made brew, but any other drink can use a bit of Brouwerij as well.

Statistics Prove. Near and Far. That Folks Who Drive Like Crazy. Are! Burma-Shave. In the days before the Interstate Highway system, you were likely to encounter a series of signs like this, somewhere in the backwoods between the large and small towns connected by the U.S. Highway system. The fonts in this series are based on the typefaces used on U.S. Highway signs from the 1930s to the 1950s. Included in each font are a sign shield in the backslash position, and a Burma-Shave logo in the section mark position. The Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

Who made this mess! Material is quintessential paint brush font fun. A little bit grunge, little bit 80s chic. Material is rated R for adult content and violence, violence to the american alphabet. This font soars just like KITT in Knight Rider. Part virtuoso part New Kid On The Block. Feels like you’re painting those letters on yr’ own self! Anytime you need to make a little mess and really express yourself choose Material. This font will really give your designs some distressed authenticity. Material is great for billboards, t shirts or video productions. It’s full of smudgy love, it’s loud and is likely to offend but what better way to give your designs that highly sought after ‘edge’.

An elegantly refined typeface with a subtle wedge serif, the character shapes of Acolyte STF set a rhythm of light and dark like windows in a cathedral. Standing tall (as in condensed!) and respectful, Acolyte STF is aptly named as a companion to any design, packaging and advertising. Acolyte will illuminate your designs with a display typeface reminiscent of European 20th century letterforms. Its distinctive letterforms are slightly chiseled and angular with curves in just the right places. Wrapped in an aura of mystery, Acolyte's origins are from condensed typefaces, with an understated gothic feel. Available for Macintosh and Windows, Acolyte will set an edgy tone for all of your design needs. Complete with an Adobe-standard character set, this font also includes the Euro and is cross-platform compatible.

Amadi - Quirky Serif Font is a delightful typeface that dances to its own beat, infusing a dash of whimsy and charm into your designs. With its quirky serifs and playful letterforms, Amadi takes the traditional serif style and gives it a whimsical twist. This font is the perfect choice for projects that aim to stand out and make a statement with a touch of quirkiness. Whether you're working on invitations, posters, or any creative endeavor, Amadi adds a distinctive and charismatic touch. Its irregular flows and unique character shapes inject a sense of fun and individuality into your designs. Amadi is like a joyful dance in the world of typography, making it an excellent choice for projects that want to break free from convention and embrace a playful, quirky spirit.

Terrance Weinzierl's Terry Junior typeface is a perfectly imperfect design – one that retains the marks of the brush used to create it and harks back to the craft required to hand make letterforms. Originally drawn during a Monotype Font Marathon, Weinzierl later refined the typeface digitally – adding an Inline version and designing alternates that replicate the irregularity of real-life brush scripts. “It has a natural, cheery and bold appearance,” says designer Terrance Weinzierl. “It's young, but not wild. Painted, but not sloppy. A sign painter's apprentice, perhaps.” Terry Junior is an obvious choice for designers and brands communicating with younger audiences, but would also work well on book covers, packaging, and in digital environments that need a little bit of extra playfulness. The family includes five fonts, including an Inline version.

Linotype Tiger is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. This fun font was created by German designers G. Jakob and J. Meißner. Like the font Linotype Sunburst, Linotype Tiger is also a typeface without curves, rather, angular and almost aggressive. The forms are reminiscent of splinters of wood arranged to form letters, numerals and punctuation signs. The font contains five weights which can be combined experimentally with each other, even over each other, or combined with more neutral typefaces. With its energetic character, Linotype Tiger is genearlly suitable exclusively for headlines with point sizes of 18 or larger, although the weight Linotype Tiger Tame can also be used for shorter texts.

Jet is an assertive italic sans that anticipates the return of the simpler, optimistic times when progress was considered positive and forward seemed to be the only way to go. It may have felt right at home in the mid-1970s, the time of Sc-Fi, synthetics and disco, yet it unmistakably belongs to the present. Its dynamic sturdy forms and angular tapering of some horizontal forms convey movement and edgy impatience for change, with a few re-imagined details, like the reversed slant on top of the lowercase t and the atypical round counter of the lowercase a, showing a new hope for the bygone optimism. Available in five weights in Latin and Cyrillic, supporting many languages, with stylistic alternates and two sets of figures. Designed by Gayaneh Bagdasaryan and Vyacheslav Kirilenko, 2020

Purgatorie - Quirky Halloween Font is an enigmatic display typeface tailor-made for the spooktacular season of Halloween. With its sharp, angular letterforms, it effortlessly embraces the eerie and horror-themed design aesthetic. This font offers a whopping ten alternative variations, each inspired by different Halloween motifs like skeletons, bats, tombstones, blood, pumpkins, bats, witches' hats, and ghosts. Ideal for crafters and designers who enjoy creating products with a variety of themes, Purgatorie is a fantastic choice for logos, packaging, product branding, stickers, crafting, greeting cards, and invitations. Its ability to bring a playful and whimsical Halloween spirit to your creative projects makes it a must-have for the season. With its quirky Halloween style, Purgatorie allows you to create a bewitching atmosphere in your designs and celebrate the spooky holiday.

Type Cartoon edition for food, like a crispy snack or anything else, such as fun, happy, cute and etc. thank you :D

Katsuji tai means typeface in Japanese. The font was created by taking Japanese letters and manipulated them to look like english letters.