This rugged typeface is based on letterforms in the Cherokee Syllabary, reputedly devised by a gentleman named Sequoyah in the early nineteenth century. In addition, Native American petroglyphs—some authentic Cherokee designs, some from other tribes—are included in several positions. The name of the typeface, however, is authentic Cherokee, and can be loosely translated as “Yo! Wuzzup?” Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Remember when a coyote was a light-boned rangy member of the canine family and not the name (spelled C-A-O-T-I) of your neighbor's four year old daughter? When a cricket was a leaping, chirping insect and not the name (spelled K-R-I-Q-U-I-T-T-E) of your purple-haired, pierced-tongued waitress? When Madison and Austin were cities, when brie was a variety of cheese, when radon and alar were hazardous substances and NOT FIRST NAMES? Burghal Design remembers the good old days, when people were not named Whisper, Zandren, Skylar or Dakota but were called Eleanor, Arthur, Edward and Irene. In the spirit of these classic monikers, we give you Mildred, a script font family for proud and simple folk: the down to earth Mildred Plain, hearty Mildred Stout, the barely-there Mildred Scrawn,and the barfly Mildred Cocktail. There's also the slightly more formal (but still all-purpose) Mildred Fancy, bolder Mildred Strong, and the wisp of Mildred Mild. Rounding out the family is Mildred Ornaments, a collection of symbols that can be used for snowflakes, for bullets, or just for fun. Mildred: just an old-fashioned, hard working font.

Leprechaun Vomit is just a pretty way of saying Lucky Charms, which I had to use something else besides the name of a cereal anyway. Leprechaun Vomit is a ding bat of luck including images of rainbows, horseshoes, clovers, diamonds, moons, the number 7, japanese "lucky" calligraphy, The Maneki Neko (the Beckoning Cat which is a lucky symbol), and some shooting stars (make a wish). You can use these images to create Irish themed designs like St. Patrick's Day art, or you can use them for lucky purposes. Bellafonts' user license allows for commercial use, so you can make products for re-sale, including services offering graphic design. You can choose from a variety of clovers for your own version of a "Kiss me I'm Irish" T-shirt, and you can add some shooting stars and rainbows to make any design for any occasion extra special. If you are a graphic designer with any clients like a ranch, horseback riding schools, and so forth, you may like these lucky horseshoes for your library.

Dungarees is a font on caffeine... It's a normal sans-serif typeface gone wild: jagged in some places, smooth in others. It makes documents not only fun to read but really interesting too!

Designed by Francesco Simoncini and W. Bilz, this design follows Times New Roman in structure, but differs in some details. Unlike Times New Roman, the boldface is a weighted version of the roman.

Here's a Morris line; a traditional and legible font in small sizes, but almost abstract in big sizes. Named after my son Morris and it's got nothing to do with a certain musical...

The Gold Rush is over, the prospectors have made their fortune and the mine has been worked out! The inhabitants of Boomtown USA have moved on -- the saloon is dry, the sheriff has hung his hat and the only visitors to the local whorehouse are tumbleweeds. Yeah, the buildings remain -- hollowed out husks carrying memories of bar room brawls, high noon shootouts and high stake poker games between outlaws -- but if you take a walk down the street be careful not to kick up too much dust... Turn the corner and you might see Ol' Toothless Joe standing on the corner sucking on a bottle of whiskey... And don't walk too slowly past the storefront of the undertaker -- that guy made his living putting strangers like you in a wooden overcoat from sunrise to sundown. Spooks and Spectres linger everywhere... there's a sign just down the road -- didn't you see it? "Ghost Town! Abandon Hope all who Enter Here!"

Typefaces don't simply appear fully formed to a designer, even with a clear concept in mind, they evolve naturally during the design & development process. Out of the current 'Artytype' collection, Omni has evolved the most, being a stripped back off-spring from several exploratory exercises. At first glance and particularly at small scale, you'd be forgiven for thinking the basic characteristics have a conventional outlook; but on closer inspection, it's own distinctive, clean cut, subtle styling becomes apparent, revealing enough personality to stand alone or complement a wide variety of projects; subsequently, it's a font that won't go out of style quickly and may even become a modern classic in time. The Omni family has 2 distinct styles, sans and serif, each style being available in 4 weights; all 8 fonts have slanted options to match making a total of 16 fonts. Dictionary definition of OMNI: Combining form - Of all things, in all ways or places. Quite an apt name for a font with ubiquitous aspirations.

Typefaces don't simply appear fully formed to a designer, even with a clear concept in mind, they evolve naturally during the design & development process. Out of the current 'Artytype' collection, Omni has evolved the most, being a stripped back off-spring from several exploratory exercises. At first glance and particularly at small scale, you'd be forgiven for thinking the basic characteristics have a conventional outlook; but on closer inspection, it's own distinctive, clean cut, subtle styling becomes apparent, revealing enough personality to stand alone or complement a wide variety of projects; subsequently, it's a font that won't go out of style quickly and may even become a modern classic in time. The Omni family has 2 distinct styles, sans and serif, each style being available in 4 weights; all 8 fonts have slanted options to match making a total of 16 fonts. Dictionary definition of OMNI: Combining form - Of all things, in all ways or places. Quite an apt name for a font with ubiquitous aspirations.

Marvaloha is based on the handwriting of an Advertising creative director. The casual but powerful strokes he uses for sketching are also visible in his writing. The Marvaloha font family consists of the original Marvaloha Regular and a Bold version. Both have matching Italics. All four styles have double letter ligatures and a set of symbols and catchwords to give your design some extra power. You will need an Open Type Savvy Application to get the most out of Marvaloha.

Abrikos is apricot in danish. A lovely and sweet fruit, often underestimated and not very well known - but if you ask me, it is delicious! The letters were drawn using a small brush, and as you can see, I almost ran out of ink - leaving the letters somewhat rough. I made 4 different versions of each lowercase letter, and these cycle automatically as you type in order to make some randomness. I threw in an extensive set of international characters as well! Enjoy!

The handmade title on the cover for the 1939 edition of “A Wand’ring Minstrel” [from Gilbert and Sullivan’s “The Mikado”] was rendered with a round nib lettering pen in an Art Deco style. This type design is now available as Cover Letter JNL in both regular and oblique versions. However, the font’s name is a bit of a pun, as it has nothing to do with cover letters, but rather the lettering found on the cover of the sheet music.

Rayid (رائد): Pioneer. “What if we remove the curves?” This was the whole idea. Rayid could be used at its best for names, titles, headings and other large size contexts. It has the ability to catch the eyes of the target. It is a modern font which respects the traditions by futurism. *Arabic marks (Tashkeel) are included but if your design needs them, first check if they work properly for you.* Please DO NOT HESTITATE to tell me if you saw any bugs.

Hello! Introducing a creative all caps font named Wave Burn. The letters of this typeface are distorted in a wave shape that flows through whole words. To create this effect, each letter has 6 variations that automatically replaces using OpenType Contextual Alternates feature (Please make sure that OpenType features in your app are supported & enabled). This font also includes multilingual characters, but only with two variations, so the wave effect will be quite limited (check out a screenshot with available letters and signs).

Blizka is a legible sans-serif with much characteristics! Inspired by calligraphic strokes, it features straight cuts in unexpected details. Great care is taken to make sure all letters flow harmoniously with each other for a superb reading experience for small texts. Blizka is subtle and functional in small sizes but perverse and full of personality when large! • Support over 200 languages with full coverage of western & central European Latin. • Beautiful Italics • SmallCaps • Proportional, tabular, oldstyle figures, fractions, you name it.

Fady Lingers is a mispronunciation of that famous Italian cookie - nevertheless, there is nothing awkward or wrong with the font! It is handmade using a thin marker, leaving an uneven edge. I did spend some time cleaning up each letter, but was carefully observant to keep the original handmade and organic look. I've added 4 slightly different versions of each lowercase letter. and they automatically changes as you type - a really great way to make your design stand out as organic and lively!

Clairveaux is based on samples of an ornate 12th century calligraphic style. It has some interesting features, including small caps which combine some characteristics of both traditional upper and lower cae character forms. It's ornate enough to look decorative, but not overwhelmingly complex, and looks remarkably attractive when used for titles in a large size.

Hearts & Swirls is a playful little font by Justine Childs & Rae Kaiser. 52 whimsical hearts and swirls, some solid, some line but lots of little graphics to finish off that wedding, birthday or baby announcement, invitation or flyer. Many ways to say I Love You. 41 hearts for all your Valentine and Wedding needs.

Although traditional Heiti typefaces may not be as lively as Songti, the modesty of M Hei makes is enduring and stand out from other similar typefaces. M Hei’s design is based on the hallmarks of traditional Heiti typefaces: it has little to no thick-thin contrast in strokes and has square cut terminals. Its dots (點), ticks (剔) and downstrokes (撇、捺) are subtly curved and longer than usual; all stems (豎) and crossbars (橫) remain simple and clear; and hooks (勾) appear rounded. Together they make a harmonious form which is clean but pure, classy but contemporary.

Odisseia: Monospaced Typeface Made on Earth by Plau. Plau presents Odisseia, a monospace type family in 8 styles designed with simplicity of shapes and a humanist touch. We’ve ventured into monospace territory, where all letters must occupy the same amount of space. This style is usually associated with typewriters and computer terminal fonts. Like all monospaced fonts, every letter align vertically in a multi-line setting. The rhythm created is peculiar, since large letters such as m and w occupy the same space as narrow ones like i. Because we have 4 different weights: light, regular, bold and black the design of some characters have to be adapted to fit the same width and achieve a constant light/dark value throughout. These features make Odisseia suitable for a specific yet considerable range of uses, from computer coding to systemized communication such as brand identities. This style has been used from high-end brand identity to cutting edge digital applications. Odisseia sets a little shorter in comparison with other monospaced fonts, and bears a large x-height.

The chestnut ("castanea") is one of my favorite trees. I used to collect the chestnuts and made chestnut-figurines out of them, using bamboo sate skewers. Castanea font is a calligraphic typeface with an uneven baseline and some messy characters - not unlike the tree. It is a highly legible, highly enjoyable font and could be used for children's books and postcards. Castanea comes with various alternate glyphs and speaks most Roman-based languages!

Over the past few years, every designer has seen the surprising outbreak of blackletter types in marketing campaigns for major sports clothing manufacturers, a few phone companies, soft drink makers, and more recently on entertainment and music products. In such campaigns, blackletter type combined with photos of usual daily activity simply adds a level of strength and mystique to things we see and do on a regular basis. But we couldn't help noticing that the typography was very odd in such campaigns, where the type overpowers all the other design elements. This is because almost all blackletter fonts ever made express too much strength and time-stamp themselves in a definite manner, thereby eliminating themselves as possible type choices for a variety of common contemporary design approaches, such as minimal, geometric, modular, etc. So extending the idea of using blackletter in modern design was a bit of a wild goose chase for us. But we finally found the face that completes the equation no other blackletter could fit into: Leather is a digitization and major expansion of Imre Reiner's forgotten but excellent 1933 Gotika design, which was very much ahead of its time. In its own time this design saw very little use because it caused problems to printers, where the thin serifs and inner bars were too fragile and broke off too easily when used in metal. But now, more than seventy years later, it seems like it was made for current technologies, and it is nothing short of being the perfect candidate for using blackletter in grid-based settings. Leather has three features usually not found in other blackletter fonts: - Grid-based geometric strokes and curves: In the early 1930s, blackletter design had already begun interacting back with the modern sans serif it birthed at the turn of the century. This design is one of the very few manifestations of such interaction. - Fragile, Boboni-like serifs, sprout from mostly expected places in the minuscules, but are sprinkled very aesthetically on some of the majuscules. The overall result is magnificently modern. - The usual complexity of blackletter uppercase's inner bars is rendered simple, geometric and very visually appealing. The contrast between the inner bars and thick outer strokes creates a surprising circuitry-like effect on some of the letters (D, O, Q), wonderfully plays with the idea of fragile balances on some others (M, N and P), and boldly introduces new concepts on others (B, F, K, L, R). Our research seems to suggest that the original numerals used with this design in the 1930s were adopted from a previous Imre Reiner typeface. They didn't really fit with the idea of this font, so we created brand new numerals for Leather. We also expanded the character set to cover all Western Latin-based languages, and scattered plenty of alternates and ligatures throughout the map. The name, Leather, was derived from a humorous attempt at naming a font. Initially we wanted to call it Black Leather (blackletter...blackleather), but the closer we came to finishing it, the more respect we developed for its attempt to introduce a plausible convergence between two entirely different type categories. Sadly for the art, this idea of convergence didn't go much further back then, due to technological limitations and the eventual war a few years later. We're hoping this revival would encourage people to look at blackletter under a new light in these modern times of multiple design influences.

Beyond broadcast Like Truman Burbank, the star of The Truman Show, FS Truman was born for TV. You’ll know it from Sky One’s on-screen trails and announcements, but it’s just as at home in other media. Its starting point was the skeleton of a highly legible, space-saving, corporate font with some of FS Dillon’s geometric discipline built in. Its distinctive tone of voice and “ownability” are in its boxy but friendly shapes, and characters with hybrid features. FS Truman’s weights and widths were honed to work at TV screen resolutions. A face for TV it may have been, but this is a font that works on every level, on screen, in print, in headlines, in listings, in longer text, in tight corners and open spaces. The space-saver Compact, condensed but crystal clear, FS Truman comes into its own where a lot needs to be said in not a lot of space. Its letter spacing allows the type room to breathe, even at small sizes, while its fulsome x-height and diminutive descenders pave the way for tighter leading. A natural for headlines and titles over three or four lines. “Hybrid” features With every font, Fontsmith look for crafty new ways to imbue letterforms with a consistent character. The idea with FS Truman was to introduce “hybrid” features. In open letters such as “c” and “s”, for example, the top terminals have straight, vertical cuts while their lower terminals have a more angular, cursive finish. Boxy, spacious forms with unusual curves and angles create not just highly legible and efficient letters but strongly distinctive ones, too.

Introducing Ethnocentric, the typeface of the future. With its sleek, ultramodern design, Ethnocentric is perfect for those looking to inject a high-tech feel into their projects. The outstretched pod forms of this accelerated font suggest rapid horizontal movement, making it the ideal choice for anything from tech blogs to cutting-edge product labels. But what sets Ethnocentric apart from other typefaces is its non-traditional, scientific sensibility. Sharp diagonal cuts and anomalistic gaps inject your words with a sense of experimentation and innovation, perfect for companies on the cutting edge of technology. If you prefer a more rounded style, be sure to check out Ethnocentric’s sister typeface, Quadrillion. But if you’re looking for something with a bit more edge, Ethnocentric is the perfect choice. With six weights and italics available, you’ll have all the versatility you need to make your project stand out from the crowd. Don’t settle for anything less than the best. Choose Ethnocentric, and take your designs to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Fedot is a hand-drawn font, based on shapes of early cyrillic scripts (so-called "ustav" and "poluustav"). Lowercase typesetting with its variable letter heights is more brisk and authentic, and uppercase is more equable and neutral. Some of letters are the same in lowercase and uppercase.

It is what it says: a classic woodtype face by the same name from Vanderburg and Wells' 1878 specimen book. What it lacks in refinement, it makes up for in exuberance. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

About this font family Squaripeg is a funky square typeface with geometric shapes to create impactful headlines and web banners. This typeface was designed so that it takes up less horizontal space but still has a lot of prominence on the page. Some letters have been combined into one unit to save further space. Features 8 weights (from thin to black) Multi language Ligatures To be able to access alternative fonts, make sure the software you use can support opentype features such as Microsoft Word, Paint, Adobe, Corel draw, Cricut and other applications. Designed and published by Andy Peat. Released April 2022

For some reason I had Paul Simon’s song ‘You Can Call Me All’ in my head when I was busy working on this font, so I just had to call it Bonedigger. Bonedigger does not dig bones, but it does have ‘heavy bones’, as it is quite big. Bonedigger is seriously eroded and would look great on book covers and product packaging. It comes in a lovely regular and italic style and a seriously twisted inline style (with, of course, its own italic). As the song goes: With a knick-knack paddywhack, give the dog a bone, this old font came rolling home.

The term Sanseki (Japanese for Three [Brush] Traces) is used to describe three famous Heian period calligraphers: Yaseki, Gonseki and Saseki. Not that I would ever dream of comparing my messy brush-work with theirs, but the name stuck and I kind of liked it. I used Chinese ink and a high quality brush (which I got in a sale actually) to create this font. All glyphs were hand painted in one go! Sanseki is a very detailed brush font. Upper and lower case letters mingle and there’s even an alternate for every lower case glyph. Comes with an abundance of diacritics.

Since I am still in a Japanese mood, I decided to name this font after my favourite pastime in Japan: hunting for the smallest, nicest sushi bar in town. After all, there’s just nothing like eating freshly made sushi and washing it all down with a cup of green tea or a warm sake. Sushi Bar is a very detailed brush font - all caps, but upper and lower case differ and can be mixed. It is an ideal font for posters, albums, headlines and book covers. Comes with a bento box full of diacritics as well!

The inspiration for Jeeves came from Leslie Carbarga's wonderful book LETTERHEADS, One Hundred Years of Great Design, 1850-1950. It was based on a secondary type usage for the letterhead for Sutherland in New York. The rest of the letterhead had features that were more typical of the Art Deco period, but this script added a touch of timeless elegance. And since at the time I was reading every scrap of P.G. Wodehouse I could get my hands on, the name Jeeves seemed like a perfect fit. The font is loaded with a plethora of extra glyphs, ligature characters and OpenType features.

A ‘Brochette’ in French is a skewer. I used to be a tour guide and some years ago, I guided a couple of tours in Mali. Every night at dinner we had the choice of a ‘Brochette de Capitaine’ (grilled Nile perch on a skewer) or a ‘Brochette de Bœuf’ (grilled beef on a skewer). Of course, every night the Brochette came with French fries and ‘petits pois’ (peas). It was really nice, but after 4 months of eating Brochettes, I longed for something different! Brochette is a very nice rounded font. It comes with curls, swirls and swashes.

Raclette grills are an ingenious Swiss invention. This tabletop grill is used to cook raclette cheese, a unique sort of cheese produced by the happy cows of Valais. Swiss designer Michael Parson created a typeface in 2002 that speaks endearingly to his hearty homeland tradition - endearingly enough, he named it Raclette. Raclette most likely started out as a bold, condensed sans serif. But then, just as one pulls little trays off of a raclette grill, Parsons quickly removed many rectilinear bits from the edges of each letter. Text set in Raclette looks like an old brick wall, or perhaps like a raclette party for several hundred people, that ended an hour ago! Raclette is one of ten of Michael Parson's experiments in type design featured in the Take Type 5 collection from Linotype GmbH."

Jan Koller designed the Banner typeface family especially for the creation of animated web banners. Banner is best used at 80p without antialiasing. The family comes in 24 styles which, in combination, create great, unusual screen effects. Three different animation modells provide the basis: extrusion, cutting in/out by ‘pixelation’, outline pixel rotation. The available flash clip listed in the Related Links below demonstrates some of the effects. Take a look! The swf clip runs in any web browser (drag & drop) but you need the flash player plugin. Apart from animation use, Banner also works well in print. Since all 24 styles are identical in width and kerning, you can set several styles on top of each other, maybe using different colours for each style. Look at the nice effects yourself!

Museo... it all started with my love for the letter ‘U’. This uppercase letter just came to me as an image in a daydream. The top of both stems bent into semi-slab serifs. From this principle I worked out the rest of the uppercase letters. My first intention was to make it an all-caps display font, but after a while, I changed my mind. I wanted it to be a bit more versatile, so I decided to add lowercase and adjust spacing and kerning to increase legibility. This OpenType font family comes in five weights, and each weight comes with support for CE languages, even Esperanto. Besides ligatures, contextual alternatives, stylistic alternates, fractions and proportional/tabular figures, Museo has a ‘case’ feature for case-sensitive forms.

Mein Schatz's (in English: Darling) characteristic feature is the availability of ligatures in the expert set. The font offers – among others – the ligatures sh, sp, st, tz and alternatives for f, l and z. The expert set’s majuscules have curved elements in addition, thus allowing designers to put the typeface to highly individualistic use for displays and logos. Another feature of the font are the two different figure systems. Further to the normal table figures, Mein Schatz also offers old style figures, mainly for use in continuous text. Table figures as well as old style figures are available in all four cuts, i.e. regular, bold, italic and bolditalic. Furthermore designers will enjoy the additional curved ornaments. The curved ornaments and ligatures don’t only add a playful character to the typeface but also hence the name.

Named in tribute to the members of the American Typecasting Fellowship, this font is an original expression of Jim Rimmer's left-handed calligraphy. It was designed and cut in 24 p in the early 1980s, then cast as foundry type on Jim's own Thompson typecasting machine. This alphabet exhibits classic semi-italic text tension, with sqaurish minuscules and hybrid renaissance majuscules. Jim's unique sense of restrained but attractive typo-calligraphic creativity puts on quite a show here. Fellowship was updated and remastered for the latest technologies in 2013. It comes with plenty of built-in alternates and ligatures. Its glyphset contains over 420 characters, and supports the majority of Latin-based languges. 20% of this font's revenues will be donated to the GDC Scholarship Fund, supporting higher typography education in Canada.