Personally I think a brush font should have the word ‘Brush’ in its name. It’s not that easy finding a name - you need some magic to come up with a good one! Magical Brush is a completely handmade font. I used a small brush (a number 3 to be precise) and Chinese Ink. I wanted just a little ‘erosion’, so I used copier paper rather than my expensive French water color paper (which is quite rough). Magical Brush comes in the normal variant and a chickenpox one. Use it for your posters, your book covers and your Christmas invitations!

Simplo Soft is the soft companion of Simplo. In Simplo Soft, Simplo’s original sharp geometrics have been tempered by the moderate rounding of the edges of its characters — creating a softer and friendlier geometric typeface. Simplo Soft is ideal for use in display sizes. It is also quite legible in text, and is well suited for graphic design and corporate identity design. Simplo Soft has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features — so it’s ready for advanced typographic projects. Free demo font available. For more information about Simplo Soft, download the PDF Specimen Manual.

BetterKamp was originally constructed in 1995-6. It was not constructed to meet any specific purpose but out of curiosity, to see what the result would be if two quite different faces were blended. KampIngriana is the offspring of BetterTypeRight, which has characteristics of a typewriter face without the monospacing, and KampFriendship, which mimics a serifed face drawn by hand. The original blending had many oddities that I did not clean up until 2020 when I also added the semi-bold weights. BetterKamp lacks polish and elegance, but it is very readable at small point sizes.

Roughcast is a kind of outside plaster, composed of cement and pebbles. It’s not the best looking plaster and it is estimated that in the UK, a roughcast outer reduces the value of a house by 5%. I am in the middle of renovating our old farm, but I won’t cover it in roughcast! Roughcast font is actually quite an attractive brush font. I made it with a brush I found hiding underneath my stove (where it had been for a while). I cleaned it and used it to make a couple of fonts, including Roughcast. Roughcast is best used for packaging, book covers and posters.

The name Dash Wisher is a wordplay. The letters of the font are also quite playful - you never know what comes next, when typing. There is no exact x-heigh, the baseline is jumpy, the descender and ascender are messed up...there are no real rules for Dash Wisher! But with all that in mind, it comes out surprisingly legible, which means it does have a wide range of use. Let your fantasy and imagination break the boundaries and Dash Wisher do the rest - or maybe the other way around! :) I've added both ligatures to substitute double letters and a set of alternate letters as well.

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate Antiqua, Corporte Sans Serif, and Corporate Egyptian is a design program of classical quality, perfectly in tune with each other. Weidemann says: My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography! Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licencing agent for this outstanding and extremely popular typeface program.

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate Antiqua, Corporte Sans Serif, and Corporate Egyptian is a design program of classical quality, perfectly in tune with each other. Weidemann says: My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography! Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licencing agent for this outstanding and extremely popular typeface program.

Introducing Handyrush Script font. It was inspired by retro typography designs in the 80's. There are over 250 glyphs in this font including Multilanguage Support. The OpenType feature with Stylistic Alternate to replace letters in the middle and end with a swash, and there are 3 swashes, and to display stylistic alternates it's quite easy just by typing characters+underscor / underscor+characters. specially for swash just type underscore underscore + a / b / c. Handyrush Script is very suitable for application especially on logos, and various other formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or all types of advertising purposes .

Normally, a short paragraph or two on this page tells the backstory to a font design. In this particular case, that story has been lost to time. Whatever the original source – whether a vintage bit of typography or an original idea – the beginnings of this font lay unfinished for quite a while as it was perceived to duplicate another previous release. However, after recently checking a sample of the design against other Jeff Levine Fonts, it’s reasonably certain this type face may have similar characteristics, but can stand on its own merit. That said, Clean Deco JNL is available in both regular and oblique versions.

Enjoy this sophisticated serif font. Modern trends finally meet timeless classics here. This typeface, wherever it's used, will give a sense of refinement in detail, and at the same time, a touch of relaxed elegance. If you are looking for a trendy font that could give you these feelings of modern grace and classic elegance, you've already found it. This font is quite versatile and can be used in both classic and modern designs. Whether it's a sensuous Jane Austen-inspired love letter or a trendy acid-jazz concert poster, this font will give your design a finished look and a touch of sophistication.

What can I say? I like fonts with stars. Space Time is a hand drawn font with a lot of variety. I started designing the regular version with the characters slightly touching but it wasn't quite what I had in my head. I’d imagined tightly spaced letters with overlapping shadows and the only way to get that effect was to create a second version with stackable layers. That means this download includes regular, base, outline, shadow, and stars files. Plus, the base and outline can be used for stacking or work fine as standalone fonts. This font is all caps but the lowercase letters feature alternative styles.

Legestue is danish and means playroom. But perhaps that translation is too direct. Legestue is a place where you can come with your kids and play with other kids. Kinda like a kindergarten, but in much smaller scale. I attended a Legestue when my kids were like 2 years old. But that's a looong time ago! I like the idea of just dropping by and see who's playing and who's around. And the same goes for this font - each letter is off and different, and quite playful. Also, the letters has a crunchy outline, which made me think of some of the cookies I ate at the Legestue :)

Mijas Ultra font was designed specially as a headlines and caption text for advertising, packaging and Publishing design. It has strong visual impact, a persuasive personality and seduction appeal throughout its organic shapes. This versatile typeface is quite useful for creating logotypes, a variety of alternates and swash tails in three different styles and length were drawn for most letters, plenty of vowel-focused ligatures, it covers all Latin-based languages. Please refer to quick reference manual included. Mijas is a little white town located at a mountainside above the blue Mediterranean Sea, in the heart of the Costa del Sol. It has high contrast, small counterforms and friendly climate.

Samarquand is a handwritten script design from Roy Preston. Based on the handwriting of a friend, Roy has expanded this friendly, semi-connecting script to include three weights, Light, Regular and Bold, opening up even more design possibilities. The Samarquand fonts support an extended character set, as well as some ligatures, inferior and superior numbers, and unlimited fractions. There are some really nice letterforms in these fonts, particularly that uppercase W! Peruse the posters to see. I'm kind of partial to the Light weight, which is really quite elegant in use, but that Bold can really make a strong statement! Samarquand. Check it out for yourself.

A bottle party is a party where you are supposed to bring whatever you wish you drink. When using my Bottle Party font, you need not bring anything at all! The font does all the partying itself - all you need to do is type, and the contextual alternates makes sure that your text doesn’t repeat the same letters over and over again! How is that? As I said, it happens automatically as you type, because the font cycles through the 4 different versions of each lower-case letter! The font is handmade with a brush feeling to it, legible at even very small sizes and it’s quite full of international characters!

Cenizas is another masterpiece of rough-and-tumble script from the prolific Argentine duo of Koziupa and Paul. Although the overall 'wildness' of Cenizas is reminiscent of popular mid-twentieth-century English display scripts, Koziupa's Latin brush humor and ingenuity remain evident in the underlying structure of the design. Casual, care-free and adventurous, Cenizas can be a great choice for design applications relating to active behavior, like outdoor sports and travel. It also is enough of a rough script to be quite useful in a variety of other design contexts, such as the covers of art books or historical novels, museum literature, music sleeves and posters, or even map designs.

Akira Kobayashi modified his Eurostile Next design into a fun unicase version. Ascenders and descenders have been traded in for alternates of letters that all share the same height. The effect is similar to using all caps, although this is quite a bit more quirky. For example, letters like the lowercase a and e are now the same height as their capital versions and the lowercase y has been raised to fit between the baseline and top height. Odd relationships such as these give Eurostile Unicase a fresh and funky feeling. Try using it for headlines and titles, then use Eurostile Next for the body text!

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate Antiqua, Corporte Sans Serif, and Corporate Egyptian is a design program of classical quality, perfectly in tune with each other. Weidemann says: My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography! Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licencing agent for this outstanding and extremely popular typeface program.

Herold is a bold Art Nouveau advertising face released by H. Berthold, Berlin, Germany in 1901. It is also seen under the name “Herold Reklame.” The design is attributed to Hermann Hoffmann by the Klingspor Museum. A herold (‘herald’ in English, ‘heraldus’ in Latin) is one who delivers proclamations and announcements. Medieval heralds are often pictured with a horn with which to get everyone’s attention prior to performing his function. His only PA system was his own voice. Left and right glyphs of a herald with horn may be found at positions 137 and 172. Herold is quite compact with a high x-height, just right for making -- what else? -- announcements.

"Soup Du Jour" is French and simply means "Soup Of the Day" - may not sound interesting, but I can tell you that I have had several tasty soup of the day served. I wanted to make a font that resembles that feeling of not really knowing what you get served, but you got a feeling that it is something good! The font has got 6 different versions of each letter, and they automatically changes as you type - it makes your text organic and lively, and probably quite tasty too! :) "Soup Du Jour" is also a well-known quote from one of my favourite movies: "Dumb and dumber"

Badiya is designed by Lebanese designer Nadine Chahine as a modern and slightly modulated Naskh. The design has open counters that enable it to be used in quite small sizes.The resulting effect is that of a clear, legible, and modern text face. Badiya is especially suited for print in magazines and corporate communication. It combines well with Frutiger Arabic and Janna as a text face with a matching headline. The Latin companion to Badiya is Syntax which is included also in the font. The font also includes support for Arabic, Persian, and Urdu as well as proportional and tabular numerals for the supported languages.

MIX SASSITUDE is a cutesy, basic, swirly monoline print font that adds a touch of quirk and Sassitude to your designs. With its mix of basic letters and a few quirky ones, this font strikes the perfect balance between plain and cute. Other than that, it’s not quite extra, just a bit ordinary. Some attitude, a whole lot of sass. Whether you want to add a playful twist to your projects or simply want a font that stands out, MIX SASSITUDE is the perfect choice. Mix Sasitude comes with the following glyphs: includes the following characters: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@$#%^&*()`~♥•· ÷×+−±≈=≠≥≤[]:;'”,.\|/?{}<>‹›‚„“”‘’-–—_…©®™«»†°¹²³¡¿₱¢€£¥§ ÁÀÂÄÃÅĂĀĄÆĆČÇÐĐÉÈÊËĖĒÍÌÎÏĪŁŃÓÒÔÖÕØŌŐŒŠȘȚÚÙÛŰŪŲÝŸŹŽŻÞ áàâäãåăāąæćčçðđéèêëėēíìîïīįłńñóòôöõøōőœśšșțúùûüűūųýÿźžżþ

Tattletale PW is intended and suitable for Display use, titles, as well as paragraphs or pages for that quickly messy but endearingly handwritten look. This font contains uppercase and lowercase characters. The upper and lower case letters are interchangeable for different effects. It also contains numerals, punctuation, symbols, fractions and foreign characters. The opentype version quite a few alternates and ligatures to make the project at hand a little more fun and unpredictable. It breaks up the monotony and provides a more authenticly handwritten look. See the character map for all of the included characters. Tattletale PW is available in OpenType and TrueType formats.

Although the early 1900s through the 1920s seemed to be the "Golden Age" of ridiculously long novelty song titles, it appears that even the decade of the 1940s had its fair share as well. Song Merchant JNL was modeled from the hand lettered [but exhausting] title of the sheet music for "Princess Poo-Poo-Ly Has Plenty Pa-Pa-Ya (and she Loves to Give it Away)". Despite the obvious double-entendre inferences of the title, the square block letters with rounded corners make for a useful headline font (even if the source material it was drawn from is quite forgettable). Available in regular and oblique versions.

Once I set on the concept for this ‘Origami’ inspired font, I used an imaginary strip of folded paper as the basis for each character, the folded effect being realized fully by incorporating an incised line. Of course the folded paper aspect is just a two dimensional illusion but subconsciously, will automatically be interpreted three dimensionally. There are numerous options for creating alternative characters following this logic, as the centuries-old Origami tradition itself illustrates quite clearly, but I wanted to maintain an ordered sense of style and balance throughout the full character set, so avoided any unnecessary flourishes, staying true to the Japanese ethos and spirit.

Honess is a luxurious handwritten script font with a thick classic feel this font is perfect for craft artists to elevate their work into beautiful masterpieces. Honess is also great for graphic designers looking for a cute font for their work. includes : - uppercase, - lowercase, - standard punctuation, - standard ligature, - bigining swash. - ending swash - numbers. - multi lingual to use a character with a line prefix is quite easy, that is, simply by typing an unterscore is added to the desired character, for example (_a) then the character a will have a line at the beginning, as well as a ending swash, type the character then followed by an underscore (a_).

Monteria is a clean brush script font with nice flow and soft forms. The basic letters are quite simple but if you want to make it look more showy there is a plenty of alternates to make it happen. It is suitable for logos, titles, t-shirts, packages and where ever you will need this kind of lining and legible script font. Monteria includes lots of Stylistic Alternates that gives you many options to customize your text. There are multiple options for upper case letters. Lower cases has options for initial forms, final forms, end swashes and multiple options for ascenders and decenders. All the Stylistic Alternates has also language support.

The Trellis font family was an effort to combine my love for Art Nouveau and storybook lettering. The capital letters are intricately illustrated and fully appreciated when magnified. Trellis is a font family decidedly decorative and ready for greeting cards and holiday cheer. I was inspired by Storybook caps for the capital letters, and wanted to combine it with some lettering from early 20th century posters. What are its main characteristics and features? Leaves intertwined and growing out of the ends of the capital letters. Although it's highly decorative, it remains legible. Usage recommendations - Holiday Greetings, scrapbooking, personal seals since the capitals are quite attractive.

Bari Sans is a solid grotesque typeface with tense curves and compact proportions, but also more subtle details like the angled terminals, the double storey g and the distinctive shape of the lowercase a. Designed to look robust and masculine, this family is also quite versatile with its 9 weights, ranging from thin to black, plus matching italics. Each font include over 500 glyphs with several OpenType features and 8 stylistic sets: alternate lowercase a, g, l, and y, alternate uppercase I and J, alternate quotation marks... Tabular figures, localized forms, ligatures and automatic fractions are also present, among others. Check the pdf specimen for more details.

I love honey - as a dessert or just as a quick snack. I didn’t really like it as a kid, but I guess that is just a result of people changes taste as time goes. I also love letters and notes - and that I also loved as a kid! And the Honey Burst font is a tribute to people to likes to take notes, and those who likes their letters being legible, but not focusing on height, width and position according to the other letters. I’ve added 7 slightly different versions of each letter, which leaves your text quite random and lovely organic - go ahead and type those notes! :)

The name of this robust typeface is adopted quite literally from the slice taken out of certain characters. The same sliced angle is also applied to many of the terminals, creating a clean-cut styling throughout the family. Tilted versions emphasise the descriptive name further, with an implied cutting stance. Wider versions go even further still, taking on a more thrusting, squat dynamic compared to the condensed styles. The standard Sliced family is complemented by Sliced Open, a lighter, more open set which extends the versatility and design flexibility of the typeface and comprises a total of 14 font styles, all with extended European character sets.

I love my bike, and I couldn't dream of not using it on a daily basis - I use my bike in rain, sun, snow, and windy days...all year, in other words! This font is dedicated to my bike, and is the first in a series of handmade fonts! Play around with the three layers and your favourite colours, for awesome effects. All versions comes with Contextual Alternates, which means several versions of each letter. In this case, every letter has 5 different versions that automatically cycles as you type! A quite awesome thing, because it makes your text more lively and natural looking!

An Swish is a unique handwritten font. Crafted in ink to become digital. Initially it was created as a kind of textural filling of spaces - walls, posters, clothes. In the process of creation, it became clear that it can solve different problems. It can become a logo or a great solution for identity. With the apparent density of the set and the negligence of the forms, it remains quite readable. It can work with different spacing options. There is a feature in the font that changes the second character when two identical letters meet. Also added icons (lightning, heart, eye) that can decorate your projects.

I came across an old book called ‘Studio Handbook Letter And Design For Artists And Advertisers’ by Samuel Welo. Samuel Welo was an American advertising calligrapher, typographer and lettering artist, who was most active during the roaring twenties. Lenox Avenue is my version of a set of letters in that book. It was handmade (just like Welo had done). I only had an ABC/abc to work with, so I designed all the remaining glyphs myself. I changed some of the original (and quite quirky) letters to a more contemporary form. The font is named Lenox Avenue, once home of the famous Savoy Ballroom. Comes with all the bells & whistles.

This expressive face was drawn with a dry chisel felt-tip marker, resulting in two​ ​striking, detail-rich fonts. Beyond its remarkable face, Marker Aid is a generous ​one​​, packed with 4 alternates for each letter, 2 for each number and yet some handy ornaments for creating a convincing - and rather cool - organic look. It is ​also ​equipped with OpenType features to instantly cycle the ​alternate ​glyphs and access stylistic alternates and ornaments. Marker Aid is available in two cuts, upright and oblique​, for added flexibility. ​​Make your mark! * Please note that these fonts have complex outlines and quite a load of glyphs, which may slow down some applications.​

I started to work at the Bernhard Studio in 1952 to 1959 in New York. I helped with some type designs and many other projects, this two tiered signature was added on all of Bernhard’s art that was produced in the past and in his later years. In the 50’s I thought Bernhard’s Gothic face was quite a bit outdated but as you may know it has become one of todays most used faces. His signature is based on his Bernhard Gothic Font. With todays computer technology I have digitized the caps and added lower case glyphs with lower ascenders and other slight changes.

I love my bike, and I couldn't dream of not using it on a daily basis - I use my bike in rain, sun, snow, and windy days...all year, in other words! This font is dedicated to my bike, and is the second in a series of handmade fonts! Play around with the 5 layers and your favourite colours, for awesome effects. All versions comes with Contextual Alternates, which means several versions of each letter. In this case, every letter has 7 different versions that automatically cycles as you type! A quite awesome thing, because it makes your text more lively and natural looking!

Jazz Gothic is a digitization and expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare. This type became an instant titling classic with jazz and soul album designers; then it caught on wildly with film and television designers. Blue Note and Motown would not have been the same without this face. Jazz Gothic is a simple geometric idea, quite likely originally inspired by the heavier display weights of Futura. The resulting product is a versatile message-driver that stands quite strong and cherishes the limelight, yet shows a playful and artistic side within its curvy thick swashes and rebellious unicase forms. In the hands of a good designer, Jazz Gothic eliminates any doubt about the delivery of the message or the attractive purposeful way it is delivered. It is the kind of typeface that loves a design program's bells and whistles. Knock it out of dark or light backgrounds, shade it, mask-alize it, roughen it, stretch it, squeeze it, and the message will still stand larger than life. Jazz Gothic comes in two fonts, a main one with a full character set to accommodate the majority of Latin-based languages, and a second one that contains about 50 alternates and swashed forms. The OpenType version is a single font that has all the alternates and swashes at the disposal of the buttons of OT-savvy program palettes.

P22 Klauss Kursiv is the first ever digital revival and expansion of the last face Karl Klauß designed for the Genzsch & Heyse foundry in Stuttgart before he died in 1956. Karl Klauß’s classical training in the graphic arts gave him solid chops to use as a springboard for design ideas that remained relevant among the countless trends fleeting around the turmoil of two world wars. By the mid-1950s, a kind of ornamental deco aesthetic was well on its way into mainstream design in post-war Europe, and demand was high for unique, lively and non-minimal ad faces. Klauß, a reliable designer with a proven track record of calligraphic faces, pushed the envelope on his own calligraphy and designed something that packages elegance in a boldness seldom seen before in luxury scripts. Quite a bit of talent is on display in Klauss Kursiv. In spite of the restraint this kind of design imposes on itself almost by default, the interplay between thick and thin never seems forced or challenging. Clear, natural strokes build a compact alphabet that demonstrates the wrist control of a veteran calligrapher. Creative nib angling segues into very clever start-and-stop constructs to make attractive forms that work quite well together, yet stand well to individual scrutiny. P22 Klauss Kursiv comes with a load of built-in alternates and ligatures in a font of over 470 glyphs, providing extended support for Latin languages.