Lobster Hand is a great hand painted face. Inspired by found signage this true type font has a vintage hand painted feel and is effortlessly original. Featuring two options for every letter you can create a huge combination of typographic alternates. Lobster Hand would be great for signage, drop caps, numerals, titles, logos, packaging, menus, etc. Available in Italic and Regular.

This bouncy little number is based on handlettering often found on greeting cards in the 1950s and 1960s, and often the work of Alan Denney. Wild and wacky (and maybe a little bit tacky), this monocase font is a sure attention-getter. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

A colorful floral book that I found at a flea market inspired me to make the font Herbarium. What started as floral letter illustrations in 2009 has now developed into a writable font. My main intention was to make each letter like a little artwork so that they all could fit as a drop cap. Herbarium is also a good choice for headlines.

The Dollfus Mieg Company was founded in 1800 by Daniel Dollfus (1769-1818) and Anne-Marie Mieg (1770-1852). In the 1890s and again in 1901 it published Monograms and Alphabets for Combination, a book with alphabets and monograms for cross-stitching. This book served as example for several digital fonts by Paulo W. Here you can get one of them,

Eckhardt Broad Sans JNL joins the growing collection of sign painter-oriented fonts named in honor of the late Al Eckhardt of Allied Signs, a good friend of Jeff Levine for many years and a talented sign lettering artist in his own right. This design is a sans serif approach to the lettering found in the Eckhardt Showcard JNL family.

Cast Shadow JNL uses the same wood type as found in Trade Printer JNL and adds to it a cast shadow in right or left versions for a bold and unique look. Both fonts have limited character sets and should be used in point sizes larger than normally chosen to compensate for the visual discrepancy due to the cast shadow's effects.

No secret here: this typeface was inspired by the opening credits for the television series "Justified." Alternate upper and lowercase letter to achieve the effect, or—in OpenType-savvy programs—activate the Contextual Alternates (calt) feature. Thin numbers can be found in these positions: ~^{}[]|\<>. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Ballard Ave is inspired by old vintage signage found in Ballard, Washington, an old neighborhood of Seattle. Ballard Avenue is a protected historical district filled with turn of the century brick buildings that have been converted into quaint shops and independent businesses. This alphabet is based on the antique signage that still exists on the sides of many of these buildings.

Show Card Deco JNL is a hybrid of examples from hand lettered titles found on various song folios from the Carl Fischer Music Library circa the 1930s and is available in both regular and oblique versions. This particular typeface lends itself perfectly to show cards, posters, headlines and display titling which captures the modern, streamlined design of the Art Deco era.

Way back in 1996, three student letterers went into the forest looking for the mysterious fonts used to letter Spawn: Blood & Shadows. They never returned. A year later, these fonts were found. And now, over 20 years later, we've updated Wiccan with separate Regular & Bold Special weights, Central Europe & Cyrillic characters, automatically cycling alternate letters and fan-favorite Crossbar I Technology!

Kwark is a nice, cartoonesque outline font with a bit of grunginess. Yes, it is an all caps font, but upper- and lowercase letters differ in shape, so you can mix and match. The name is not really related to the way the font looks: kwark means 'curd' in Dutch. You think that sounds delicious? Well, then give Kwark a try!

This font contains every variant found in the Hebrew Bible such as the “mutilated” Waw in Numbers 25: verse 12, the small Heh in Genesis 2: verse 4 and the Nun Inversum before Numbers 10: verse 35 and after verse 36 and elsewhere as well as certain oversized consonants such as the Shin with hireq from the beginning of the Song of Songs.

An Art Deco “thick and thin” novelty type design based on the hexagon shape was found within the pages of “La Lettre Dans le Decor & La Publicite Modernes” - a 1930s-era French alphabet collection. The title somewhat translates to “The Letter in Modern Decor and Advertising”). Named Oh Hex JNL, it is now available in both regular and oblique versions.

Eckhardt Showcard JNL and Eckhardt Showcard Two JNL are drawn from more lettering found in an old sign painting book. Jeff Levine has continued naming a series of fonts for the late Albert Eckhardt, Jr. (1929-2005) who had owned Allied Signs in Miami, Florida from 1959 until his passing. Al was a talented lettering artist and a good friend to Jeff.

ITC Kokoa is the work of German graphic designer Jochen Schuss. Schuss found the seeds of inspiration on a trip to Ghana and expanded and experimented with the idea on the computer. It includes an array of symbols and borders to complement its stylized letters. ITC Kokoa retains a touch of its African roots but is overall a modern, funky font.

It began as a series of photographs of the rusty metal brand names on old tractors in a museum. When I scanned the photos and began to trace the letters, I found the rust and deterioration created a level of detail which gave my letters a psychotic anger which, as an art director in an advertising agency, I closely identified with.

Decorative, Display, Headline, Sans Serif, 1930s, Hand Lettered, Monoline, Retro, Vintage, Nostalgic, Stylized, Elegant Some beautiful and stylized Art Deco hand lettering found in the Jan. 6, 1934 issue of the British movie fan publication Picturegoer Weekly inspired Movie Palace JNL, which is now available in both regular and oblique versions. This monoline design adds a touch of elegance to any retro projects.

Inspired by Edward M. Catich’s seminal thesis on the origins of the Roman inscriptional style, such as that found on Trajan’s column, Richard Lipton’s Canto traces the path from an expressive, preparatory Brush (with Brush Open to preserve gestural details at smaller sizes), through informal Pen, to the formal Roman. Classical capitals are accompanied by Lipton’s own calligraphic lowercase, small caps, and swashes.

This classically elegant typeface is based on a 1912 design by Johann Vincenz Cissarz for the Ludwig & Mayer Foundry. To add a little more visual interest, alternate letterforms can be found in various positions throughout the font: consult the expanded character map. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Fun, footloose and fancy free, Castaway is a font family that knows no boundaries: equally at home in Naples and Nairobi, Rimini and Rio, Tijuana and Timbuktu. It was inspired by those ‘far away places with strange sounding names’, and will bring a touch of the exotic to tourist and travel promotions, and a breath of fresh air to any graphics project.

Unleash your inner street artist with Rocket Queen! The definitive font for urban self-expression. Inspired by the bold strokes of tagging graffiti markers found on city walls, this font encapsulates the raw energy of the streets. Its uppercase and lowercase characters ensure versatility, while support for foreign languages guarantees global appeal. Graffiti artists worldwide adore its iconic rounded tip marker style for its unique and entertaining aesthetics. Rocket Queen's "Urban Tags" font is more than just a typeface; it's an urban art form. Designed with a nod to the vibrant world of graffiti scenes, this font embodies the spirit of tagging graffiti markers, creating a gritty, authentic experience. With full support for foreign languages and both uppercase and lowercase characters, Rocket Queen empowers your creativity. Its iconic rounded tip marker style, favored by graffiti artists globally, offers a unique and entertaining touch to your designs. Plus, it's enriched with street graffiti ornaments for that added urban flair. Rocket Queen is more than a font; it's the language of rebellion and urban creativity. Drawing inspiration from the bustling streets and tagging graffiti markers, this font captures the raw spirit of street art. Its iconic rounded tip marker style, beloved by graffiti artists worldwide, sets your designs apart with a unique and captivating aesthetic. Supporting foreign languages and featuring a complete set of uppercase and lowercase characters, Rocket Queen is your canvas for bold, edgy statements. Step into the world of street art with Rocket Queen, a font that embodies the raw spirit of urban graffiti. Inspired by the legendary rounded tip marker style, this font captures the essence of tagging in the streets. Its captivating, one-of-a-kind design is favored by graffiti artists across the globe. With support for foreign languages and a full set of uppercase and lowercase characters, Rocket Queen is the ultimate choice for artists who want their work to resonate with the vibrant, rebellious energy of the graffiti scene. And, don't forget to explore the collection of street graffiti ornaments to take your designs to the next level! "Rocket Queen" font is perfect for a wide range of creative and artistic applications. Here are some ideal uses for this unique and edgy font: Graffiti Artwork: Use "Rocket Queen" to create authentic graffiti-style artwork on canvas, walls, or digital platforms. Its street-inspired design will add an urban, edgy vibe to your work. Streetwear Brand Logos: Design logos and branding materials for streetwear clothing lines or urban fashion brands. The font's bold and expressive style is a great match for this niche. Event Posters and Flyers: Create eye-catching event posters and flyers for music concerts, art exhibitions, or street festivals. "Rocket Queen" will help your event materials stand out and evoke a gritty, streetwise feel. Album Covers: Design album covers for music genres like hip-hop, rap, punk, or any style that demands a rebellious and energetic look. The font can give your cover artwork an authentic street vibe. Tattoo Lettering: Tattoo artists and enthusiasts can use "Rocket Queen" for lettering in tattoos. Its unique graffiti-inspired characters can create distinct and personalized tattoos. Skateboard Deck Graphics: Use the font to design custom graphics for skateboard decks, reflecting the rebellious and urban culture of skateboarding. Street Art Installations: If you're creating street art installations, "Rocket Queen" can be used for text elements within the artwork, giving it an authentic urban graffiti feel. Urban Magazine Titles: "Rocket Queen" can be an ideal choice for magazine titles and headlines in publications that focus on urban culture, street art, or graffiti. Video Game Titles and Graphics: Design video game titles, logos, or in-game graphics for games with an urban or street culture theme. The font's distinctive style can enhance the game's visual appeal. YouTube Channel Branding: Content creators with a street art or urban lifestyle focus can use "Rocket Queen" for their channel logos, banners, and thumbnails. Product Packaging: For products targeting a youthful, urban audience, the font can be used in product packaging design, making the brand and product look fresh and exciting. Digital and Print Advertisements: Incorporate "Rocket Queen" in advertising campaigns that aim to connect with a young, rebellious, or urban demographic. The "Rocket Queen" font is versatile and can be adapted to a wide range of applications where a bold, streetwise, and artistic look is desired. It's all about bringing an authentic graffiti vibe to your creative projects. ——— Rocket Queen features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +345 Total Glyphs +100 Graffiti Swashes and Ornaments included!

This late 19th century design conjures up early 20th century Dutch DeStijl lettering with a mostly strict adherence to right angles and minimal stroke modulation. Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version. A heavier wood type specimen was found from an unknown manufacturer and digitized as it was found, resulting in the HWT Geometric Shopworn and Shopworn Inked variations. These digital versions all include a full Western and Central European character set of over 380 glyphs.

Refinery is the newest font in the Evanston Collection of square typefaces. With a similar capital structure to Tavern and Alehouse, Refinery includes both lowercase and small caps, making it an ideal typeface for paragraph text settings. It also comes in a wide array of weights and widths, with 85 font files in total. DESIGN Refinery has it’s roots in early 20th century signage and saloon typography, but has been modernized - even future-ized - to fit the 21st century digital landscape. The design was aimed at providing a type family that could work in many modern design fields, from sports, tech and military to gaming, HUD, virtual reality and augmented reality. ENGINEERING Essentially. Refinery is a simple mono-linear square design has been expertly refined into an easy-reading sans serif typeface. It was designed to be used in both display and text settings. From hairline to black in ultra-narrow or extended, the wide array of weight and width options makes it easy to find the right font for each text need. SPECS Refinery not only includes 85 font files, but each one include a wide array of Opentype Extras that allow even further customization. • Stylistic Alternatives: Letters A W Y have a styling variation that rounds the pointed apex into a square curve. The S and 2 variation straightens the spine, making all curves in the alphabet read as 90º angles. • Small Capitals: A shortened version of the capitals for alternate header settings. • Titling Alternatives: In this typeface, this feature turns on lifted small caps. Take the small capitals, raise them to level with capitals and underline at the baseline. When multiple lowercase or small capital letters are typed in a row, the underlines connect, creating unique ligatures. • Figures: There are different figure styles for different text needs. Options include, proportional lining, tabular lining (for math), old style and small capitals. • Discretionary Ligatures: A little funk to this otherwise serious typeface. Letters with a long baseline or cap height stem - F, L, T - get elongated to hug a small capital vowel. Other ligatures include Co. and No. • Catchwords: These are common words that bring emphasis to a design. In English these words include ‘and’ ‘as’ ‘by’ ‘in’ ‘of’ ‘the’ ‘to’ ‘when’, among others. Refinery also includes multilingual catchwords of ‘el’ ‘la’ ‘oder’ ‘go’ ‘para’ ‘pour’ ‘und’ ‘y’, among others. For the full list, please check out the specimen images. EXTRAS To round the typeface off, a set of over 150 ornaments, icons, arrows, patterns and line breaks is included to provide complimentary graphics. These can be found in the Ornaments labelled font, it is recommended to use the Glyphs panel to select which text glyph is needed.

After my son was born, I found myself reading him a lot of books. A LOT of books. Some were good, some were great, but I found myself wanting to develop something using my skills and interests to make something that only I could make. In short, I realized my son needed to be indoctrinated—I mean, introduced into the wonderfully wild world of fonts. So, I set about to make a board book to teach about typography, called “The Clothes Letters Wear.” You can learn more about the book here. I’ve made the captivating illustrations bright and colorful, and the use of different letter forms makes for a fascinating read to delight ages young and young at heart. And, as an added bonus, this children’s book has a custom designed font. I’m always looking for an excuse to design a new font, and this book created the perfect alibi. Drum roll, please. I now give you … Cabrito (“little goat” en Español). This new serif typeface incorporates the latest research on typographic legibility for children, features to make it—well, extra legible. A little background: studies show that Bookman Old Style is one of the most readable typefaces, and as a consequence or perhaps the reason why, it is used thoroughly for children’s books. This font became my initial inspiration for the typeface. Then, I found more legibility research saying that (brace yourselves) Comic Sans is also very legible for beginning readers, much due to the large x-height and softer, easily recognizable forms. In addition, forms that are closer to handwriting also seem to be more legible. Once I threw all that into my cauldron and stewed it a bit, the result was a pleasantly rounded typeface that includes not-so-strictly geometric, handwriting-inspired forms for the b, d, p, and q. Es guapo! Cabrito’s slender weights are simple and fun, with extras that turn any “bah humbug” into a smile. Add lighter touches to your project with the typeface’s included sparkles or rainbows (not included). Splash a little more color on the page with the firmer look of the thicker weights. Cabrito’s upright variations across all weights are matched by optically altered italics, too, giving you even more variety with the font family. This modern typeface’s bundle of alternates can be accessed in any OpenType-enabled software. The fashionable options involve a significant team of alternates, swashes, and meticulously refined aspects with ball terminals and alternate titling caps to decorate the font. Also bundled are swash alternates, old style figures, and small caps. Peruse the PDF brochure to check out these options in motion. OpenType-enabled applications like the Adobe suite or Quark allows comprehensive control of ligatures and alternates. This font family also provides the glyphs to aid a variety of languages. Cabrito is a welcoming, everyday font family by Jeremy Dooley. Use it to convey warmth and friendliness on anything from candy and food packages to children’s toys, company IDs or run-of-the-mill promotional material. Cabrito’s unique appearance and high legibility make it equally at home in print as it is on a screen.

I fell in love at the age of twelve in Wales, recalls Bernard Philpot. "My father brought me to a small graveyard in the Welsh hills to show me two headstones carved by the great Eric Gill. I instantly fell in love with the beauty of the carving and the perfection of the letterforms. I still go back to marvel at these works of art." However, the ITC Bolthole™ design, Philpot's first commercial typographic endeavor, is quite unlike the works of Eric Gill that first captured his heart. Bolthole is a craggy sans serif with a definite grumpy attitude. It's not terribly legible, and, if more than a few words are set in the design, it's not very readable. To round out its cranky personality, Bolthole does not like to be set in small sizes. Like Cheez Whiz® and bullfights, you either love or hate this typeface. But whichever emotion dominates, there is no denying that Bolthole has a personality to be reckoned with - one with ample magnetism to ensure reader attraction. If used to set brief blocks of display copy, the typeface makes a powerful statement. Bolthole was originally designed to complement a whimsical ad for the Royal Society for the Prevention of Cruelty to Animals. As Philpot recalls, "although the ad didn't win any awards, the type attracted some very positive comments for its original look and feel." Philpot studied graphic design and typography at the London School of Printing, and soon after graduation found himself working in a large advertising agency in London. According to Philpot, "After designing type for everything from packaging to ads, I thought it time to convert one of my designs into a complete font - and Bolthole was born." ITC Bolthole could very well be the Shrek™ of typeface design - which might not be such a bad thing."

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Loosely based on a hand lettered title found on vintage sheet music for the song "Hong Kong", the design for Kwun Tong JNL emulates the letters and numbers formed from pieces of bamboo stalk. Kwun Tong JNL is named for a locality in Hong Kong although (according to Wikipedia) "the Hong Kong Government is unitary and does not define cities and towns as subsidiary administrative units."

A wise orange cat said once: There are three things certain in life. Death, taxes and teddy bears. The closest thing to a fourth is red tape. Restricting you, bounding you to the rules of a bureaucratic organisation. My advise, carry a scissor with you all the time to cut through it. WBP Red Tape is a great monospace font specifically designed for headings and logo design.

This distinctive titling face is based on Elegant Lichte, designed by Hans Möhring for D. Stempel in 1928, with the helpful addition of a lowercase not found in the original. It functions equally well as either a period piece or a contemporary masterpiece. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as wellas localization for Moldovan and Romanian.

Introducing SG Mikura: Redefine Possibilities with Typography. Elevate your designs with the perfect blend of variability and versatility offered by our brand new font. With 9 meticulously crafted weights and over 600 meticulously designed glyphs, your creativity knows no bounds. From elegant finesse to bold statements, let SG Mikura be the cornerstone of your visual masterpiece. Discover the art of expression through typography today.

Tobu means 'to jump' in Japanese. I came across a haiku by Matsuo Bashô wich reads: The old pond… a frog jumps in… the sound of water (Furu ike ya… kawazu tobikomu… mizu no oto). The font is named Tobu because of its jumpy character: it doesn't have a real baseline, which makes it playful and fun to use. Tobu comes with a pond full of diacritics.

Samuel Welo’s “Studio Handbook – Letter and Design for Artists and Advertisers” was a go-to source of inspiration for generations of layout artists, graphic designers and sign painters. An interesting example of free-form pen lettering was found amongst the pages of one edition and it has now been recreated as a digital typeface called Nouveau Cartoon JNL; available in both regular and oblique versions.

GREISSLER is a Retro Display Font inspired by old letterings on store fronts and building facades in Vienna. "Greißler" is a term used in the east of Austria and means small grocer. In Vienna you can still see some of the letterings "Lebensmittel", "Feinkost", etc. on the storefronts of mostly abandoned shops. Similar letters can be found on "Gemeindebauten" (council housing) from the 1920s.

Found within the pages of the 1927 edition of the “Welo Studio Handbook - Letter and Design for Artist and Advertisers” is an elegant Art Deco multi-line alphabet. Digitally redrawn as Theater Alley JNL, it is available in both regular and oblique versions. The font takes its name from that of a street in New York, although the street’s name uses the old-fashioned spelling of “theatre”.

The initial designs for this font first came from the idea of creating a dynamic and visually appealing typeface just by using squares so throughout the development stages I had restricted myself to just the use of squared paper. The hardest thing that I found was overcoming the problems regarding letter forms that have diagonal lines and therefore defer from the ongoing style of the typeface.

A heavy, bold font based on two hand lettered type specimens from the 1920s. Original designer unknown. The font has a unique combination of both Old World and Asian influences, while still maintaining a fun, upbeat casual feel. Contains a full set of Alternate Caps found under the "Stylistic Alternates" OpenType feature. Contains language support for both Latin-based and most Eastern European languages.

Skyline was commissioned from Font Bureau by Condé Nast specifically as a headline typeface for Traveler magazine. This strongly personal work by Imre Reiner from 1929 and 1934 was known in Europe as Corvinus. Skyline Black and Bold Condensed offer immediate headline recognition through Reiner’s variations on the themes found in the classical Modern structure. Both styles were adapted by Jane Patterson; FB 1992

Furius is a display typeface inspired by the split serif style of woodcut or chiseled letters found in roman inscriptions and later popularized by the western genre in the United States. Created as a display typeface, Furius combines a host of Opentype features and equally incoporates a full extended latin and cyrillic character set to provide a versatile and complete design solution for titles or display settings.

Here’s another wild and wacky typeface based on handlettering found on Hallmark Studio Cards of the 1950s. All possible letter combinations have been kerned, so you can mix and match upper and lowercase letters to create just the balance you’re looking for. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.