If you've had too much coffee but not enough of Too Much Coffee Man you can now indulge in an excess of characters created by the hand of Too Much Coffee Man's creator, Mister Shannon Wheeler. Don't worry, in our efforts to ensure clean and confident lettering samples, we kept Shannon on decaf until he was done. Dip this font in your system folder and your hard drive will get a caffeine and sugar rush guaranteed to increase its memory partition and bring the images on your monitor into sharper focus.

Addressotype is based on lettering from a vintage ad for the Addressograph-Multigraph Corporation, manufacturers of the Addressograph addressing machine. In days when the U.S. postal service delivered everything, mailing addresses were as important as email addresses are today. The Addressograph machines stamped out dog-tag-like plates that were used to print mailing labels at high volume. Embodying the company’s work ethic and durability, Addressotype recalls the gaspipe form of lettering popular in the 30s and 40s, updated to reflect the “streamlining” trend popular during the period.

The inspiration for this font (as well as the name!) comes from a London cafe I visited years ago. I was fascinated with the handwritten menu - irregular and awkward, yet refreshingly charming. I did my best to recall that particular look by adding 4 slightly different versions of each lowercase letter. The name of the font comes from the speed of the waiter...or the lack of it! But luckily he took his time, otherwise I wouldn't have had the time to really look at the handwritten menu! :)

Libelle is a 21st century English Copperplate Script typeface. Created by Jovica Veljović, a designer with decades of experience as a calligrapher, typeface designer, and professor, Libelle differentiates itself from other Copperplates Scripts because its letterforms are less mechanical. The hand of the calligrapher shows through the forms, breathing new life into this historic genre. Libelle includes approximately 400 extra glyphs, including alternate forms of many letters and special forms for the beginnings and ends of words. The font includes several stylistic sets, as well as ligatures and ornaments.

Thomas Oldfield’s typeface, Reaper, is reminiscent of inscribed Greek letterforms but he claims that its origin is much simpler than that. “I recall”, Tom says, “that I just began the design by making the uppercase ‘I’ and continued using it to make up the other characters.” The cap only typeface has alternate cap forms in the lowercase positions, including a vastly scaled downed O and Q that make for some unusual text settings. Contrary to what the name might have you believe, there’s a lot of life in this quirky typeface.

Alathena was inspired by the French art decade between art nouveau to art deco, comes with 2 style, Alternative swash and Modern deco, with some modified ligatures. Available with 6 Weights, Thin, Extra Light, Light, Regular, Bold, Extra Bold with support 75+ language (Latin Pro), and contains OpenType features. - Matching small caps for all weights. - Old Style Figure. - Full "f" Ligature set. - 20+ Optional (discretionary) ligatures. - Over 400+ Swash Characters. - Automatic Fractions. - Automatic Ordinals. - Extended language support for most Latin-based Western and Central European languages, including all the swash and alternate characters.

The Wood-Regan Instruments Company (Wrico) of New Jersey manufactured for decades a line of lettering kits called the Wrico Sign Maker. With only special ink pens, plastic templates and a template guide anyone could letter clean, clear signs, posters and notices. Based on the same principles of architectural templates, the lettering was [for the most part] utilitarian and functional. Few templates were of stylized or decorative lettering. Informational Gothic JNL and its oblique version are based on the four inch high lettering templates from one of those kits.

Go ahead, and call it a rational serif. After all, An Education owes its basic style to the neoclassical typefaces like Bodoni and Didot. But it’s more than simply a rational approach – An Education is pure love for a classic expression of elegance (combined with a touch of European decadence, I mean, who needs Le Corbusier all the time?). An Education is a tailor made text font for those of you who crave elegant typographic design. Elegantly spice up your reports, your book layouts, your posters and many other designs – without sacrificing legibility or contrasts.

Donna Lena is a chancery cursive, feminine in character. Elegant and timeless, this font marks the return of the classical canons of the Renaissance thanks to its open forms and the clear-cut ends, while recalls the graceful ways and the intense gaze of the ladies that populate the Florentine paintings in the sixteenth century. Donna Lena is soft and slightly inclined, with a fast ductus and marked contrasts in thickness to highlight the gesture. Different stylistic variations and ligatures are considered to make the most of the many OpenType features.

Ayita is a new sans serif design by Jim Ford and Steve Matteson. Ayita is a Cherokee name which translates to first in dance" and recalls the rhythm and flow of this new typeface. Originally conceived as an upright italic design, Ayita remains contemporary, friendly and hard working. The open shapes render faithfully at small point sizes and on device screens while the compact design allows more characters per line for headlines. Ayita is a useful design for a wide variety of uses including interfaces, spreadsheets, greeting cards and banners."

Frank H. Atkinson's book Atkinson Sign Painting was published in 1909. For decades, this book served as the manual for sign painters - a handbook for hand lettering. Atkinson’s book described techniques, layouts and several sample alphabets. Modernized Ideal Classic was inspired by one of these demonstration alphabets. Although Classic has its beginnings in art deco, it is very comfortable in any period or style of design. It is most appropriate in headline and display text, poster copy and signs. We've included some nice stylistic alternates and an interesting array of ligatures.

Retro-futuristic robot terminal type. The 1930s Moderne Streamline decade meets the digital domain in this weird font. Use it in an ad for Ford Tri-Motor Airplane or a story about an out of control 1980s computer monster. Which? Help it find its place- as it is lost in time. Digideco is a minimal font set that includes upper and lowercase letterforms which can be used at various sizes but, we consider it a headline/display font, best applied larger than 36 points in size. Shall we play a game?

Galvani offers a new geometric Sans Serif with humanistic displays. With its straight lines and rectangular shapes, and its clean and coolish appearance, Galvani unites some of the principal sans design features of the last decades. Galvani consists of 18 styles and is well equipped for advanced typography. It comes in OpenType format with extended languagesupport. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows.

Block-style typefaces make excellent sports-themed fonts, and Stadium JNL is no exception-- but this lettering style is also filled with nostalgia for decades past. Modeled from one of the many classic designs found in the Speedball® Lettering Textbook, this style of alphabet was quite popular in signage of the 1920s and 1930s. Stadium JNL fills the bill either way-- a font that is just as much at home on a gridiron or baseball diamond, or as lettering for a garage, warehouse or attention-getting ad copy.

ITC Avant Garde Gothic is a font family based on the logo font used in the Avant Garde magazine. Herb Lubalin devised the logo concept and its companion headline typeface, then he and Tom Carnase, a partner in Lubalin’s design firm, worked together to transform the idea into a full-fledged typeface. The condensed fonts were drawn by Ed Benguiat in 1974, and the obliques were designed by André Gürtler, Erich Gschwind and Christian Mengelt in 1977. The original designs include one version for setting headlines and one for text copy. However, in the initial digitization, only the text design was chosen, and the ligatures and alternate characters were not included. The font family consists of 5 weights (4 for condensed), with complementary obliques for widest width fonts. When ITC released the OpenType version of the font, the original 33 alternate characters and ligatures, plus extra characters were included. ITC Avant Garde Gothic® font field guide including best practices, font pairings and alternatives. Featured in: Best Fonts for Logos, Best Fonts for Websites, Best Fonts for PowerPoints

Peter Kin-Fan Lo designed the award winning Linotype Ancient Chinese™ in 1997. It is a symbol font that contains 92 “portraits” of figures who look as if they could have populated ancient China. These portraits are black and white symbols, gathered together into a font. This symbol font may be used for any design piece dealing with history, China, Chinese restaurants, or Asian art. To clearly see all the details, these symbols should be used at larger point sizes.

Just like a nice breakfast, Kitchen Stink is a great way to start the day! :) You may already have guessed that the fontname is the result of a wordplay. Sometimes it's funny how a single letter can completely change the meaning of a word. In this case! With this font, you are dealing with a gentle mixture of a basic handwritten font, a comic font and oldschool grafitti! The result is this steady, sometimes a bit off, but legible crunchy handwritten font!

Originally released in 1995 as a three font family, Paradigm forcefully addressed the emaciating effect that digitization was then exerting upon traditional serifed typography. Investigating the new media of a much previous era, Nick Shinn deconstructed the first roman type, designed by Sweynheym and Pannartz in 1467, and gleaned, from its minuscules, the low contrast and discreet serif treatment (portrayed by a novel convex effect), which he subsequently applied to both capitals and lower case of a classically proportioned Venetian invention. Now in 2008, the glyphs, metrics and hinting of the 1995 fonts have been refined, Extra Bold and Light weights added, a full range of OpenType features instituted, and the number of characters per style increased almost threefold. It is a major upgrade to a unique typeface.

For decades, the soft glow of a neon sign beckoned weary travelers to roadside rest courts, told the hungry individual where to eat; let enthusiastic revelers know where the night life was happening. There is something special about a neon sign, yet changing times, city ordinances and even technology itself is turning this staple of urban life for over a hundred years into a museum piece. Night Sign JNL emulates the craft of hand-formed neon signage and it (along with a few added special effects) can really add some good-old-fashioned pizzazz to a print or web project.

Monocolo is the result of a reflection on communication and of the language evolution in the new media. For this reason, some emoticons have been added to the usual glyphs and symbols and icons have been added to the regular. These glyphs, through the use of Discretionary Ligatures (DL) feature, can be recalled by using their name or idea associated with them (in the English language). This feature is designed to retrieve the icons quickly and not to be applied to a text, therefore you have to pay attention to compound words when used through DL.

For decades, the Persian-born Naghi Naghashian has been working as a graphic designer and illustrator in Germany. Arian™ is his first commercial Arabic typeface. Named after his mother, Naghi created the Arian typeface family after years of systematically analyzing the Arabic script. The Arian design is sought to fulfill the many needs and was developed for multiple languages and writing conventions. It's extremely legibilitable not only in small sizes, but also when the type is filtered or skewed. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

The 1960s was the most tumultuous decade of the 20th century. Sixties Symbols JNL collects twenty-six icons and phrases from that time of change and unrest including the peace symbol, a dove, a daisy—even the militant 'power fist' that signified rebellion against mainstream society. There's also a blank lapel button on the Y/y keys and a blank protest poster on the Z/z keys for your own special message. For the more daring, the left and right brace Keys {and } have the 'one finger salute' the radical hippie factions displayed generously. Use that one with discretion!

Drop Caps happen. They started off life as decorated initials way back when in the days of illuminated manuscripts. Then printing came and they became the work of the rubricators and then somewhere soon after printing began, at least by the 1490’s, they were printed directly into the text. This then is a collection of over a hundred glyphs from that closing decade of the Incunabula period. All of them are based on examples found in the works printed by Michael Wenssler in Basel. This font also contains a few useful pointing hands and a set of spacing characters.

Nipok is a single weight display typeface, inspired by the aesthetics of different decades. Rounded terminals and playful intersections from the 60’s and 70’s, joined with straight and compact lines from the 80’s and 90’s. The particular style is given by the alternation of upper and lower case letters, chosen to fill the empty spaces greatly and create harmony. In addition, alternates are included to give you more stylistic options. While by default this font is a semi unicase, the alternative glyphs extend the Ascent and Descent metrics. Multilingual support is available.

Rock and Cola's design is clearly inspired by the sinuous shapes of the world's most famous drink's logo. It however does not pretend to copy it faithfully or to serve as a platform to generate the logo itself. Rock and Cola is a very elegant Script font with great weight and contrast. Its OpenType features include ligatures, swashes, alternative characters, ornaments and accents in order to support many foreign languages. It has huge possibilities for application in logos, titles and short texts by generating in them great impact and recalling. Use Rock and Cola in your projects and enjoy it!

Is there such a thing as an easy answer, or is it just because you know the question? Anyway, as a kindergarten teacher I like to make these quizzes with the kids. The object of the game is not to answer right, but to get a feeling of knowing a lot. I thought of these questions as being logical and really easy, but I also found out that it is a great way for the kids to remember and recall their knowledge! This font is easy to read, even if you use some of the many choices of swashes!

Amasis is a slab serif design which has been drawn with a humanist approach, rather than the traditional geometric construction associated with this style of letter. The result is a typeface that has an affinity with the Ionics, although in character it belongs to the latter decades of the twentieth century. The Amasis italic fonts, rather than being sloped roman or cursive in nature, are related more to the Old Style italics. Amasis works particularly well in small sizes where readability is important. Amasis has proved excellent for use on low resolution printers and for facsimile transmissions.

For decades, the handletterer’s craft has been indispensable to the advertising and design trades. As prevailing tastes changed and new technologies emerged, commercial art saw the fateful demise of this lost skill. Now, House Industries is proud to offer the Sign Painter font kit, a collection of six timeless display typefaces along with an assortment of eye-catching advertising type treatments in font format. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

From Weimar to København/Copenhagen, picking up some decadent traits on its journey. The design of Copenhagen Grotesk is inspired by the great German grotesque type design history, although it will not fall into ranks in all aspects. Indeed, Copenhagen Grotesk will not be put into one single time pocket of style, so you'll notice that there's a hint of art deco style in its capital letters. The visual expression is first and foremost firmly rooted in the style of Scandinavian design, so feel free to use Copenhagen Grotesk for functional typographic design in relation to multiple media types.

In the 1990s I drew a text face for the San Francisco Chronicle. It was based on W. A. Dwiggins’ Electra and incorporated many features of the Linotype Legibility Series: More compact, with a taller lowercase X-height, etc. That type was called Electric and it was the Chronicle’s text face for nearly a decade, surviving several redesigns. From that, I made Azuza, a more detailed and sensitive style. Azuza was recognized in the TDC2 type competition in 2001. Then it went into hibernation as a Type 1 font family. Today it is back. Six fonts. Open Type.

The concept of a bold connected script with a hand lettered feel has been on my bucket list for decades. I imagined a pretentious, ornate, swashy look, a variety of word-end embellishments, heaps of ligatures and underscores. It took a weekend workshop on Python Scripting at Type@Cooper in San Francisco reinforcing the smarts of Opentype to make it happen. Hand drawn on paper using broad pen strokes for reference, the design was the easy part. The real work was in the back-end and self-imposed rigorous testing. Download a comprehensive pdf User Guide at this link.

A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial-style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

The Cholla typeface family was designed by Sibylle Hagmann in 1998-99 and named after a species of cactus she encountered in the Mojave Desert. Cholla was originally developed for the Art Center College of Design in Pasadena, California. There, art director Denise Gonzales Crisp and associate designer, Carla Figueroa, collaborated with Hagmann to create a series of fonts that would offer a great deal of variation. The variety was needed to echo the school's nine different departments, yet together the fonts had to exude a unified feel. It was first used in the radically designed 1999/2000 Art Center catalog which won a honorable mention in I.D. magazine and was featured in Eye No. 31. Originally Hagmann set out to design a typeface that, as she recalls, "I could feel comfortable making, first of all, and one that would serve a purpose and had a clear idea behind it, and something that I would want to use myself." Stylistically Hagmann set out to create "12 cuts with slightly different personalities, with different ideas applied. For example the bold weight isn't simply the Regular with weight gain, but has bold letterforms with their own peculiar details. What all weights share and what is the necessary unifying detail is the tapered curve - marked out, for example, in the lowercase b's left top and bottom of the bowl." Gonzales adds: "The forms seemed classical as well. This combination could have a long life, and be timely. I also saw - at least in the beginnings of Cholla - forms that connoted hybrid, of inter-connection, of human and machine growing together. These notions seem appropriate for a school that teaches design and art." Greek version by Panos Haratzopoulos.

Tomi Haaparanta got the idea for the Tyke typeface family after using Cooper Black for a design project. He liked Cooper's chubby design, but longed for a wider range of weights. “I wanted a typeface that was cuddly and friendly,” recalls Haaparanta, “but also one that was readable at text sizes.” He started tinkering with the idea, and Tyke began to emerge. Even though Haaparanta knew his boldest weight would equal the heft of Cooper Black, he began drawing the Tyke family with the medium. His goal was to refine the characteristics of the design at this moderate weight, and then build on it to create the light and bold extremes. Haaparanta got the spark to design type in 1990, when he attended a workshop held by Phil Baines at the National College of Art and Design in Dublin. “I've been working and playing with type ever since,” Haaparanta recalls. He released his first commercial font in 1996, while working as an Art Director in Helsinki. After about two dozen more releases, he founded his own type studio, Suomi Type Foundry, early in 2004. At five weights plus corresponding italics, Tyke easily fulfills Haaparanta's goal of creating a wide range of distinctive, completely usable designs. The light through bold weights perform well at both large and small sizes, while the Black is an outstanding alternative to Cooper for display copy.

NORTH ZONE Urban Font is a supercharged, with extra attention to quick strokes and sharp details, NORTH ZONE It contains uppercase, lowercase and swash. NORTH ZONE is ideal for logos, apparel, t-shirts, hoodies, quotes, product packaging, or anything that needs a typographic turbo-boost and you’ll get a unique swash to accompany the font. Language Support - We've added in a great deal of extra characters to support many different languages. If there is a problem, question, or anything about my fonts, don't hesitate to ask! Big Thanks Ergibi Studio

Supporting Cast JNL is a hybrid of similar designs for hand lettering found on title cards from two morality photoplays from 1936 dealing with drug abuse, "Cocaine Fiends" and "Marihuana" respectively. The films were produced with the hope of educating the public against the dangers of illicit drugs, but they have taken on a cult status because of the dated approach to the problem. Despite all this, it is the Deco-influenced hand lettering which is being celebrated in this font release, not the subject matter of the films.

Crop is the guy who works till 3am, striving for greatness. Crop is the one in the gym at six in the morning, pushing harder every time. Taking no for an answer, just isn't part of the deal. Crop is the one with fire in his heart and eye intense enough to achieve the unthinkable. If you've never stopped pushing boundaries, if you think second place isn't worth getting out of bed for, if you can stand on the top of the world and ask, 'What's next?' - Crop might just be the one for you!

DonnaBodoni was inspired by David Farey. He once wrote, somebody should honor the widow of Giambattista Bodoni the brave Signora Paola Margherita Dall 'Aglio for her effort to have the Manuale tipografico di Giambattista Bodoni published after his death. Since I have redesigned a good deal of Bodoni’s work and added some of my own, I thought it was my duty to do at least this for Bodoni’s unknown widow. Here is my 3-cut script in her honor. The design is remotely based on Bodoni’s English-Initials. Your honorable Gert Wiescher

Halloween has never been so much fun. You don’t need to go near a spooky house in the dead of night or deal with creepy creatures while you wait for trick-or-treaters to pass out candy. With this Halloween font and our new Halloween-themed templates, it will be easy to get your Halloween party started without all that hard work! Of course with this font your various design projects will be perfect and amazing, get a beautiful title and start using our font for your special project.

Introducing Melvins - Font Set. The font combination which inspired by the vintage design. Includes 4 fonts with different styles that have unique looks, and are perfect pairs when combined. This font set is carefully designed with high attention to give a feel of vintage, old-school, and classic. Melvins consist of Condensed, Light, Expanded, & Script styles that are versatile to be used for many design purposes. Melvins Font Set including with 50+ vintage illustrations that will ease you to make a design in a sec and is also equipped with swash and alternate characters that you can mix and match to get a more vintage look. The perfect choice to be used to create logo, label, badges, logotypes, decals, shirts, posters, flyers, and etc.' Fonts featured : All capitals character set Lowercase (script) Numbers Symbols & punctuation Stylistic Alternates Swashes (script) Multilingual support PUA Encoded (no need for special software to access special characters) Thank you for your support! I hope you enjoy using Melvins Font Set.