This is a hand-written script font. Specifically designed for books, invitations, magazines and advertisements.

This beautiful script has lovely connections and swirls that create an elegant, hand-written look.

Ballpoint Signature is made with natural hand-drawn inspired by beautiful handwriting, and includes alternates.

The tale of Pumpkinseed began with a bit of hand-printing I noticed on the dinner menu at a local restaurant. I took a menu home for future reference. Several months later, some similar hand-lettering on another dinner menu caught my eye. I became a sort of connoisseur of hand-done menu lettering. After tweaking and adjusting a few of these menu-inspired (uppercase) characters, I placed them -- along with some other designs -- in an online Type in Progress survey. They won. So I finished the caps, drew out the lower case from scratch, created three weights and oblique styles. The result: Pumpkinseed, a full-featured casual hand-lettering face. Comes in Light, Medium, and Heavy.

Rock-steady and friendly, yet animated and exciting, Adventuring evolved from the hand drawn, uppercase title lettering used for the 1950s and 1960s dust jackets of Enid Blyton’s Famous Five series of books.

Pintenium is a vintage script with a hand-lettering brush style, and includes several OpenType features. Suitable for design, element design, wedding, event, t-shirt, logo, badges, sticker, and awesome work, and more.

The hand lettered cast and production credits for the 1942 music comedy “Holiday Inn” (starring Bing Crosby and Fred Astaire) inspired Vacation Resort JNL, which is available in both regular and oblique versions.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

Some words from the designer... West coast artist Teri Kahan developed a "design font" of 68 pictographs capturing the sentiments of relationship, connection and synchronicity. Many of the characters were created with phrases in mind like, "handing you the world on a platter", "howling at the moon", and "message in a bottle". Others represent life experiences. The clean, simple illustration style originates from the look of hand-carved rubber stamps, and lends itself beautifully to logos and graphics.

Oilvare is a hand-drawn, layered typeface inspired by vintage painted signs and oil cans. While sturdy, it also has a softer side—wide proportions, oval-inspired forms, curled angle strokes, and a medium contrast all help give it a little bit of distinction from the typical sans serif. Mix, match, and layer the styles to your liking. Carefully drawn, when you enlarge the typefaces, the subtle irregularities become more apparent and harken to hand lettering of the past.

Dudley Castle - Hand Written Script Font is a beautifully crafted font with a hand-drawn script style that exudes elegance and luxury. Designed to resemble handwritten text, this font adds a personal touch and a sense of authenticity to your designs. With its abundance of alternative characters and flourishes, Dudley Castle offers versatility and allows for creative exploration. It is a perfect choice for titles, names, branding, headlines, logos, and various other design applications. The hand-written script style of Dudley Castle brings a unique and personalized feel to your projects. It captures the essence of beautiful handwriting, giving your designs a human touch and an intimate connection. The font's elegant and luxurious appearance elevates the visual appeal and adds a touch of sophistication to any text it is applied to. Whether you're creating a title for a magazine, a name for a product, or a logo for a high-end brand, Dudley Castle will help you achieve a refined and stylish look

The sweetest thing is handmade fresh typeface, created with brush and ink. contemporary approach to design hand-painted natural and also a combination of delicate script with an irregular baseline. Suitable for use in watercolor design or as a hand brushed bold letters. Such as Novel tittle, Apparel, Invitations, Quotes, Books tittle, Stationery Design, Branding, Logos, Greeting Card, T-shirt, Packaging design, Poster and more. Includes a complete set of uppercase and lowercase letters, as well as multi-language support, numbers, punctuation, ligatures and alternative character.

Patisserie is exactly the font you might expect to see on chalkboards outside Parisian cafés; tall, elegant and enticing. The lithe, thin and graceful characters of this font compliment the hand-drawn style to create a typeface that is both casual and professional. Excellent for display work and larger sizes, to really show off the slightly rough edges, Patisserie supports over 26 languages with full punctuation and character sets. Step on in for a traditional, hand-made, French fontant, or whatever else you fancy.

The 1913 sheet music for "There's A Girl in the Heart of Maryland (with a Heart That Belongs to Me)" may have had no shortage of words in the title - fifteen to be exact, but it also offered some nice hand lettering in the Art Nouveau style. Maryland JNL is a condensed typeface with an unusual twist. The "S" and "G" both have spurs on them, which is reminiscent of the preceding Victorian period and the popular spurred Tuscan alphabets of the time.

Inky Fingers… Well, the name says it all! This rather obese font was made by hand (literally) using my index finger, some sheets of paper and a lot of Chinese ink. As the eco-paper absorbed quite a lot of ink, I had to do a second ink-run! Inky Fingers is a very legible typeface, ideal for headlines, books and posters. It comes with Babylonian language support - including the Schwa/schwa glyphs for the Azeri speaking crowd. Ain't I nice?

An image spotted online showed a rendering of a ladies’ fashions storefront that had appeared in the Libbey-Owens-Ford Glass Company’s 1939 brochure. The signage consisted of the hand lettered word ‘Apparel’, and was done in a variant of the Art Deco stencil style of lettering that’s most recognizable in Futura Black. From these few sign letters came the inspiration for a digital font of the same name, Apparel JNL – which is available in both regular and oblique versions.

In the 1943 Three Stooges comedy short “Higher than a Kite”, Curly reaches into a box with the label “hand grenades” painted on its side and pulls out one of the devices. The bold, squared stencil hand lettering on that prop inspired Stencil Label JNL, which is available in both regular and oblique versions.

PaperCutAlmond breathes just the hands-on self-made authentic happy feeling you may be looking for. Each and every glyph is based on a paper letter cut by hand with a pair of scissors by me in my studio. Ideal for packaging for organic products, illustrated goods, book covers, editorial illustrations and other freestyle projects.

PiS Malefiz is inspired by the hand-drawn type on the package of the german 60's version boardgame „Malefiz“, also known as Barricade or Barricata. Extended to five hand-drawn weights PiS Malefiz turned out to be the weird lovechild of Saul Bass and Ralph Steadman, fun and childish plus angry and strange. Just as playing the boardgame, PiS Malefiz is a wild and superfast rollercoaster ride of emotions! Combine the five interchangeable weights for total whackyness or use the clean and legible thin and regular versions for sleek and slender slanting. Have fun! Keep the dice rolling!

Chaman is a “hybrid” font. On the one hand serifless, temperate and readable, and on the other hand quick and livily as a manual script, thanks to many unexpected ligatures. Letter design is plain and functional, punctuated by dynamic elements, mostly in ligatures and contextual glyphs, generated at the beginning and end of the word, thanks to your software’s OpenType features. It draws inspiration from the Tibetan alphabet, originally close to our own latin alphabet, as it stems from Bhram handwriting, itself derived from Phoenician alphabet. This alternation of stright vertical lines and regular bows makes Chaman’s design stand out.

GG Casual is based on a hand lettering style of Gerald Gallo. The family is casual and informal and is ideal for use in conveying these qualities.

Like fresh, warm just-out-of-the-oven bread, Wheat is wholesome and comforting. Wheat's crusty texture and bubbly, hand-drawn letters give it all natural appeal.

Jules Thicket is a wonky caps font, with kicky angles. Mix and match caps and lowercase letters to create a unique hand-lettered look in your designs.

Canadian Brusher, hipster Hand-brush display font with stunning characters and texture. It’s all caps with numeral & punctuation and standard multilingual support. Very cool for multipurpose project.

Inspired by hand lettering on a 1939 World’s Fair Poster, Fair Play JNL is a bold, condensed design with spurred serifs and some flared characters… and is available in both regular and oblique versions.

Family Deco JNL was inspired by the bold Art Deco hand lettering of the movie credits for the 1936 Laurel and Hardy comedy “Our Relations”, and is available in both regular and oblique versions.

Christmas Fleurons is a set of delightfully hand-drawn Christmas ornaments. It complements our Merry Fleurons and Merry Snowmen faces, and is ideal for all your Christmas cards, gift labels, invitations, posters and banners.

Introducing "Dumper" - Your Original Hand-Drawn 60's Retro Bold Font Step into the bold and vibrant world of "Dumper," a font that seamlessly blends original hand-drawn craftsmanship with the iconic style of the 60's retro era. Ideal for posters, headlines, and vintage-themed branding projects, this font exudes a dynamic energy that adds a bold statement to your designs. Key Features: Original Hand-Drawn Craftsmanship: Each character in "Dumper" is crafted by hand, bringing a unique and authentic touch to your creations. 60's Retro Bold Vibes: Immerse your designs in the bold and lively spirit of the 60's, making "Dumper" a perfect choice for projects seeking a retro aesthetic. Why Choose "Dumper": Craft posters and headlines that command attention with bold and dynamic lettering. Design branding materials that transport your audience back to the vibrant 60's era. Establish a brand presence with a font that effortlessly captures the essence of retro boldness. Download "Dumper" Now and Let Your Designs Boldly Embrace the 60's Retro Vibe!

TT Firs Neue useful links: Specimen | Graphic presentation | Customization options TT Firs Neue is reborn! We have rethought the font to introduce the next-generation typeface. After analyzing each contour and graphic element, we rebuilt the font, preserving its best features while making any necessary adjustments. We have created a flawless and modern sans serif using the new technical capabilities of the studio. TT Firs Neue is a Scandinavian sans serif that combines expressive graphic elements with the versatility of use. In the latest 2023 edition, the font's display elements have become even more attractive, while the overall font balance has also been improved. This is the result of the visual research we did before working on the update. Here is what has changed. The visual elements of the font are now logically coherent. We got rid of the ones that did not suit the font's concept and kept the most attractive ones. The changes affected letters with diagonal strokes "M, N, И", and figures "2, 3, 6, 9". All round characters' shapes have been standardized for all font styles. In the previous version, all glyphs looked different: more square or oval, depending on the font's weight. We made the shapes consistent for the font to feel more integral. Glyphs containing bowls have also changed. We have worked on the balance, altering the height and shape of the bowls. Like rounded ones, we aspired to make the glyphs more balanced for all font styles. The shapes of the letters "J, M, N, S, W, З, И" and Black font style characters have changed. The individuality of these glyphs was slightly different from the whole set, which became apparent in larger sizes. We have improved the shapes and made them more suitable for the font's style. Letters with diagonal strokes and triangular glyphs, such as "A, V, Y, D". We have brought the characters to a consistent logic in their shapes by refining the angles and weight of diagonals in different font styles. The glyphs' terminals follow the same logic in the new version. We have preserved and perfected the old shapes. Ligatures and stylistic sets have been updated entirely and expanded. We have researched Scandinavian languages and designed ligatures and diacritical sets that would definitely be useful for designers. We have redesigned diacritical marks, figures, and punctuation marks. Now all characters follow the same logic and contribute to a well-balanced impression of the font. The character set in each font style has been increased from 934 to 1719, and the number of OpenType features—from 24 to 40. The new font includes 23 font styles: 11 roman, 11 italic, and 1 variable font. The variable font has also become a significant technological advancement for TT Firs Neue. We retained a warm sentiment towards TT Firs Neue's previous success while redesigning the font and implementing substantial alterations. The 2023 font has been developed according to new technical standards that have become significantly higher in the past 5 years. TT Firs Neue is a font well-suited for a wide range of contexts. It can be used for headings, text fragments, visual merchandising and building decoration, and the web. The font is visually aesthetic on podcast and video covers and is an ideal choice for packaging design and brand identity. TT Firs Neue OpenType features: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, case, dlig, liga, c2sc, smcp, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, ss13, ss14, ss15, ss16, ss17, ss18, ss19, ss20, calt. TT Firs Neue language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, Uzbek (lat), Acehnese, Banjar, Betawi, Bislama, Boholano, Cebuano, Chamorro, Fijian, Filipino, Hiri Motu, Ilocano, Indonesian, Javanese, Khasi, Malay, Marshallese, Minangkabau, Nauruan, Nias, Palauan, Rohingya, Salar, Samoan, Sasak, Sundanese, Tagalog, Tahitian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Asu, Aymara, Bemba, Bena, Chichewa, Chiga, Embu, Gikuyu, Gusii, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kirundi, Kongo, Luba-Kasai, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Mauritian Creole, Meru, Morisyen, Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Swahili, Swazi, Taita, Teso, Tsonga, Tswana, Vunjo, Wolof, Xhosa, Zulu, Ganda, Maori, Alsatian, Aragonese, Arumanian, Asturian, Belarusian (lat), Bosnian (lat), Breton, Bulgarian (lat), Colognian, Cornish, Corsican, Esperanto, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapük, Võro, Walloon, Walser, Welsh, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Lakota, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, Guarani, Nahuatl, Quechua, Russian, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Macedonian, Serbian (cyr), Ukrainian, Kazakh (cyr), Kirghiz, Tadzhik, Turkmen (cyr), Uzbek (cyr), Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kabardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Rutul, Tabasaran, Tsakhur, Buryat, Komi-Permyak, Komi-Zyrian, Siberian Tatar, Tofalar, Touva, Bashkir, Chechen (cyr), Chuvash, Erzya, Kryashen Tatar, Mordvin-moksha, Tatar Volgaic, Udmurt, Uighur, Rusyn, Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmyk.

Toscography is inspired by vernacular and naive hand-painted walls and signs from Brazil. It feels organic, spontaneous and fresh and it has a light texture on its characters that makes it feel like it is starting to decay.

Being Strong is a layered script and is inspired by bold, hand-lettered, vintage scripts. It includes OpenType features and additional accented characters, and is great for logotype, posters, badges, book covers, t-shirt designs, packaging and any more.

FranklinGothicHandCond is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past, Gert Wiescher.

FranklinGothicHandBold is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

Zigfrida Typeface was born from a process of re-designing a logo where, through a grid created, I was developing all its main characters. As the project grew, it was noted that it was necessary not only to limit itself to the Latin alphabet, but also to develop Cyrillic characters. Its possibilities of use are endless, can be used in projects for your favorite sport, signs, posters, large formats, advertising projects, architectural, packaging, titles, among others. The result of all this was the development of a font that has up to 747 glyphs that can understand 100% of Latin languages and the vast majority of countries that use the Cyrillic alphabet. It has unique personality and characteristics that bring a differential to any project it is part of. ----- A Zigfrida Typeface nasceu a partir de um processo de re-design de um logotipo onde, através de um grid criado, fui desenvolvendo todos os seus principais caracteres. A medida que o projeto foi crescendo, observou-se que era preciso não apenas se limitar ao alfabeto latino, mas também desenvolver os caracteres cirílicos. Suas possibilidades de uso são infinitas, pode ser utilizada em projetos para seu esporte favorito, sinalizações, cartazes, grandes formatos, projetos publicitários, arquitetônicos, embalagens, títulos, entre outros. O resultado de tudo isso foi o desenvolvimento de uma fonte que possui até 747 glifos capaz de compreender 100% dos idiomas latinos e a grande maioria dos países que utilizam o alfabeto cirílico. Tem personalidade e característica únicas que trazem um diferencial para qualquer projeto que ela fizer parte.

Graham Cracker is a fun, cartoony and child-like font that can't help but fill you with happiness! The font was inspired by hand-drawn lettering on an old 1960s movie poster, and contains over 175 interlocking ligatures that add a hand-lettered feel. Stylistic substitutions like this are where the OpenType technology really shines, allowing computer fonts to more closely mimic the variations of hand drawn lettering. The ligatures can be found under the Discretionary Ligatures OT feature, or applied from the glyph palette. Jukebox fonts are available in OpenType format and downloadable packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

Beware of the Phantasm! Just in time for Halloween, Phantasm is perfect for your creepiest projects. It has great legibility and boasts a much larger character set than most display fonts. It can look wispy and vaporous, or you can make it look like it has been scratched into a surface by hand. All letterforms use a minimum of strokes and the gentle curves reinforce the hand-etched look.

This innovative styled swash font was created to suit various design applications within the typeface market and is aimed at people looking for a sharp styled brush script typeface that doesn't fit in with the regular trends of hand written fonts. Designed and produced by Paul O'Connell of POCT, it is a strong pointed styled typeface with sharp edges and curves, but still manages to retain a subtle hand drawn feel.

Just Frames... 31 to be exact. Some swirls, some hearts, some ovals, some squares. Some line, some solid, all with a fun hand drawn feel. Just add some hand drawn type and you are done.