Poacher is a hand-drawn font inspired by the popular Hand Of Sean font, by the same designer. It has a looser, fun feel and is great for applications aimed at children. Great for kid’s books, classroom hand-outs, annotating sketches and notebooks. Great for use on natural, organic food / product packaging.

Painters Display is a font with a brutal style but still modern and fun, inspired by paint splashes and scratches, suitable for your fun, free and cool designs, This font can be applied at large sizes for optimal results such as headlines, posters, banners, etc. Painters display available with Allcaps, Symbol & Number

Introducing vintage label font named Circus Sideshow. All available characters you can see at the screenshots. This font has six styles: Regular, Shadow, Rough, Rough Texture and two effect styles Texture FX and Shadow FX. This font will look good on any vintage styled designs like a poster, T-shirt, label, logo, etc.

This “Anglican” style typeface is based on an 1880s release from St. Louis’ Central Type Foundry originally named Euclid. It’s amazingly versatile, easily at home in both formal and fun settings. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Risa is an easygoing sans serif for display and text. With a dash of deco and a soupçon of sixties, gentle curves grace diagonal strokes bestowing a sensual tenderness that is further enhanced by subtle soft cornering throughout and a swollen fullness at the baseline, bottom-heaviness that helps make Risa highly legible.

Undeka™ is a modern contemporary sans serif typeface that embodies simple geometric shapes combined with strong typographical foundations. Inspired be the grotesk typefaces made in the early 20th century. It was made by Krisjanis Mezulis at the WildType Foundry. Undeka is available in 6 different versions - Regular/Italic, Light/Italic, Bold/Italic.

Andralis was designed by Ruben Fontana in tribute to the designer Juan Andralis. Its handcrafted, strong and robust appearance, maintains at the same time a friendly and human tone. It was specifically designed to perform well in long texts, also offering excellent results in headlines. Andralis is a Trademark of BauerTypes SL

Olivera Stojadinovic made her first sketches of the ITC Resavska family with the goal of creating a typeface that would be readable at small sizes. Stojadinovic added geometric serifs to the original design to create four weights in serif and sans serif sub-families. Each weight (except the black) has an italic counterpart.

KyivType Sans is a part of the KyivType superfamily, consisting of three subfamilies: Sans, Serif and Titling. Also available KyivType Variable superfamily. Initiated by Projector, Dmytro Bulanov Creative Büro, and Banda Agency for Kyiv city (Ukraine) identification and promotion. Freeware. Fonts are free for commercial and non-commercial use. More at Behance.

Gans Antigua Manuscrito is a revival font by Intellecta Design. researched at the rare catalogue from the extinct Fundicion Richard Gans, from Madrid. See also other font families inspired by Gans' original typefaces: Gans Tipo Adorno , Gans Lath Modern , Gans Titular Adornada , Gans Ibarra , Gans Antigua , Gans Fulgor and Gans Radio Lumina .

A vigorous typeface suited for bold designs, Dynatomic is inspired by an amazing hand-drawn lettering of a 1964 polish movie poster designed by Andrzej Krajewski. It's a very eye-catching typeface that works surprisingly well even at not-so-big sizes, making it a great choice for a wide range of applications.

Netherfield is classic script font that inspired by eighteen century manuscript. It has unique stem and form that show antique feels. Suitable for branding project, packaging, quotes, greeting card, and so on. You can get uppercase and lowercase letters, numeral and punctuation, lowercase alternates, and ligatures. Please look at preview pictures detaily.

Really excited to introduce Peylon Viggo is gorgeous handmade signature font. Peylon Viggo signature includes alternative and ligatures to make everything look natural handmade signature. Included: Uppercase Lowercase Number & Symbol International Glyphs Multilingual Support Ligature Alternative If you need anything else just shoot me on email at: dedukvic@gmail.com Hope you enjoy it.

KyivType Sans is a part of the KyivType superfamily, consisting of three subfamilies: Sans, Serif and Titling. Also available KyivType Variable superfamily. Initiated by Projector, Dmytro Bulanov Creative Büro, and Banda Agency for Kyiv city (Ukraine) identification and promotion. Freeware. Fonts are free for commercial and non-commercial use. More at Behance.

At first glance Parking Lot Stencil JNL look quite similar to many sans stencil fonts, but rest assured there are numerous subtle nuances that give the typeface its own unique flavor. Modeled after the plastic stencils used for marking numbers and directional information on paved surfaces, the lettering is clean yet industrial.

Mellin takes us to the simple designs of the Streamline era. It is based on heavy vertical strokes with a slight taper. Mellin is offered in a solid form as well as an open outline face, and is ideally suited for posters that aim at the elegant functionality of the 40s and 50s.

Hello, on this occasion, we would like to introduce a new font. which we named him "CHLEONA", a font that we design with an elegant, stylish and simple shape at a relatively affordable price but has good quality. This font has the following advantages. Featured Uppercase Lowercase Numeral Functional Stylistic Ligature Multilingual

Introducing Qrada classy modern serif font family that drawn inspiration from elegant, modern, and classic at the same time. It looks lovely on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a customized touch. Complete with ligatures alternates regular italic icon kerning multilingual support

Introducing a vintage look label font named Race To Space. All available characters you can see at the screenshot. This font have 7 styles - Regular, Shadow, Texture, Shadow FX, Texture FX, Full and Aged. This funny style font will good viewed on any retro design like poster, t-shirt, label, logo etc.

The font reproduces the characteristic detail of some Armenian fonts of the past centuries - the disruption of thin elements. At the same time, the font combines the plasticity of lapidary inscriptions and modern aesthetics. The name Vard (Rose) is highlights an elegance of style. Applicable for headlines, drop caps, advertising compositions, etc.

Introducing a modern look label font named "Cyberpunk". All available characters you can see at the screenshot. This font have 2 basic styles - Regular and stencil. Regular font have Textured style and effect style with texture. This font will good viewed on any retro design like poster, t-shirt, label, logo etc.

With its straight and clean face Hybi10 Metal can be a quite normal antique font family. But the alternates with different versions of spikes at the uppercase letters gives it an additional use. Decide for your own, how to use it. The styles with real capitals widens the range of use too.

KyivType Sans is a part of the KyivType superfamily, consisting of three subfamilies: Sans, Serif and Titling. Also available KyivType Variable superfamily. Initiated by Projector, Dmytro Bulanov Creative Büro, and Banda Agency for Kyiv city (Ukraine) identification and promotion. Freeware. Fonts are free for commercial and non-commercial use. More at Behance.

Introducing a hand-crafted label font duo named Stuntman. All available characters you can see at the screenshots. This family have two fonts - Script and Stencil; and for each included two styles - Clean and Paint (dripping effect). This font will good viewed on any retro design like poster, t-shirt, label, logo etc.

Gumley - a font which has a fresh natural look and feel inspired by nature, at the same time it has a gummy feel which would fit very well on packaging design. With a little inspiration every product can look awesome with this font, starting from kids magazines to logos and package design.

Sweet Hand was inspired by casual, neat hand lettering. It is casual and informal and is ideal for use in conveying these qualities. It is excellent for casual text and at large sizes an effective casual display font. The font includes upper and lowercase alphabets, numbers, punctuation, accented characters, symbols, and miscellaneous characters.

Octagonist JNL is based on ‘Octagon’ [which was introduced in the George Nesbitt 1838 specimens of wood type] and is available in regular, oblique, solid and solid oblique versions. The font’s name is partly an homage (to the original type name) while at the same time making a pun on the word ‘Antagonist’.

Malina is a sans-serif monoline typeface with some humanist touches creating a clear and legible typeface. The Idea is to make hairline display font that elegant and perfect for use at large sizes, with a set of alternative characters such as K, Q and R for your design in any layout.

What excactly is a snacky plop? To be honest, I don't know!!! The name comes out of a wordplay! :) But what I know is that this font is playful, unpredictable and fun to look at and use! I have added 5 different versions of each letter, and they automatically changes as you type!

Legendaria is a very sophisticated and elegant connected script font. Its more than 1300 ornamented characters make it incredibly versatile. Most lower case letters have at least 15 different options, including tails and flourishes. For Open Type users “Legendaria OT” is the best choice instead the separated files of ornamental complementary fonts.

This engaging headline face is based on a rather pudgy typeface named "Bullion Shadow", which was originally released somewhere on the cusp between the hippie and disco eras, and was equally at home in both. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Boller is based on handwriting found on the blueprints for the Jayhawk Theater in Kansas. Thomas Williams & Boller Bros. Architects are the only names found on the blueprints. The character set is extremely limited and many of the missing characters are extrapolated from existing letters and symbols. Ideal and distinctive at large sizes.

Challenge is the work of English designer Martin Wait. The brush lettering gives the typeface a unique, spontaneous quality. Capitals should be set closely and lowercase letters overlapped to produce the look of authentic handwriting. Challenge is at the same time informal and authoritative and good for a variety of display applications.

Rigo™ is a flexible family of modern sans serif. Rigo is characterized by some humanistic characteristics, its open part of negative space and its overall width make it highly legible and readable at small to large size. The openness helps Rigo to be a good performer on the screen as well.

Calling Cards is simple and clear, slightly condensed sans serif font family in 3 styles: Regular, Italic and Bold. Each font includes ligatures and stylistic alternates. Calling Cards looks great in quotes, logos, print, and social media, and is perfect for both short and long texts, at small and large font sizes.

Kanjur was inspired by a page from an 18th century Buddhist book. Used for block text at first glance it has a very striking resemblance to Asian lettering. It is an English reading caps only font with minimal characters ( A-Z 0-9 & £ $ ¢ ! ? , . ). It is not intended as a serious font, just enjoy.

Adagio is a spontaneous, casual kind of font but don’t be fooled into thinking just because it’s all uneven and painted that it’s a pushover. There’s a bold brush pen at the heart of the design as well as a full set of alternate lowercase characters if you’re looking for something extra.

Really excited to introduce Gelsson is a realistic brush script! Gelsson will be perfect for all your designs project. Included: Uppercase Lowercase Number & Symbol International Glyphs Ligature If you need anything else just shoot me on email at: dedukvic@gmail.com find more previews on my website here : https://typeclassheroes.com/ Hope you enjoy it.

TT Octosquares useful links: Specimen | Graphic presentation | Customization options TT Octosquares is a fresh, revised, expanded, and significantly improved version of our first commercial typeface TT Squares and its narrow version TT Squares Condensed. With all our love for the original font family, it felt there was a lack of functionality, character composition, features, and design freshness, which prompted us to the idea of a complete restart. Now TT Octosquares can be safely called a superfamily consisting of 4 widths (Compressed, Condensed, Standard, Expanded), 72 faces (18 in each width), and 1 incredible variable font in which variability works jointly on three axes. In addition to working on the contours themselves and their design, we completely revised the composition of the typeface. First, we added two completely new widths: Compressed and Expanded. Secondly, we increased the number of weights in each of the subfamilies—while in the old versions there were 5 weights, now in each of the subfamilies there are 9 weights. At the stage of working with the contours of characters, we revised the roundings, changed the forms of shoulder and stem crossings, added noticeable shelves at the letters, removed the sharpness from the triangular characters and cut off all sharp endings. From the very beginning of work on TT Octosquares, we planned to make a variable 3-axis version of it sewn into 1 font file. This means that by installing just one variable font file, you get access to three axial adjustment of the font: by thickness, width and inclination. Thanks to this flexibility in settings, you can always choose a custom combination of thickness, width or inclination that best suits your tasks. Due to the increased language support and the appearance of a bunch of useful OpenType features, the number of glyphs in the typeface has increased from 480 to 825 in each style. Now you can use stylistic alternates, standard and discretionary ligatures, or use old-style figures, numbers in circles and even slashed zeros in your design. Full list of features: aalt, mark, mkmk, ccmp, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, case, zero, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt, locl. To use the variable font with three variable axes on Mac you will need MacOS 10.14 or higher. For other software and browsers, you can check the support status here: v-fonts.com/support/.

New York vibes FS Irwin was born in New York while Senior Designer, Fernando Mello, was studying an intensive 5 week typeface design course at the Cooper Union. His brief was to design a perfectly clear typeface that could communicate well, without loud or overtly mannered design features. Fernando was influenced by the subway font in New York: ‘It is very in your face and clear, always in bold. It doesn’t shout much but at the same time is very present and unique. The design is completely different but it was this spirit I wanted to capture for FS Irwin.’ And the vibe of the city: ‘In a similar way to London, New York is so mixed and so cosmopolitan. I was amazed by the different styles and identities I saw there, and tried to encapsulate this essence to create something new, relevant and very now.’ Incisive quality Rather than focusing on quirks or distinctive characteristics, the key to FS Irwin is the quality of its design and spirit of simplicity. The design, proportions and details are usable and authentic and it is suitable for countless situations, without running the risk of being instantaneously noticeable. Families like this can be used on nearly anything, from more playful designs to serious corporate IDs. ‘Extensively tested and precisely drawn text-oriented typefaces are what I enjoy designing the most. There is a beauty and a different approach, a different way of making them interesting, sellable and usable rather than adding flicks or unexpected details.’ Inscriptions and calligraphy FS Irwin’s origin lies in Fernando’s studies in inscriptional lettering and writing-calligraphic exercises at the Cooper Union. Mello started the process by digitising his explorations and adapting them into a more workable sans serif structure. The traditional forms of writing which gave the basis to Latin type as we know it today were the perfect place to start. This influence can be seen in the proportion of the capitals and in slight writing-calligraphic details in the lowercase, such as the slightly angled, chiselled spurs and their open terminals.