Let’s be creative and have fun at the same time! With the new Itchy Handwriting, you will make your friends smile and your foes shake.

Adapted from Ronsten to make an acceptable chunky, more normal serif font retaining the serif alignment with the letter curves. An Italic is also available.

Sakurata is a unique and chunky lettered display font. Add this font to your creative ideas and notice how it will make them stand out!

hand drawn brush who make the typeface looks very instant and messy. Uses for film title, cover album, logo, clothing, invitation, event, labels, poster, etc.

Contra Sans is the base of my Contra family of fonts. It has just sufficient contrast to make for easy reading and an interesting appearance.

Weeknight is a cute and quirky handwritten font. It’s simple and friendly style makes this design incredibly versatile, fitting a wide variety of creative ideas.

Coltisho is a magical and unique handwritten font. Its sweet and relaxed style makes it incredibly versatile. Use it to elevate each of your designs.

Breakdance is a vintage font duo. Combination of sans and script with sharp textures making all your creative projects getting a vintage and authentic impression!

Battom Glory is a bold and distinct blackletter font. Add this font to your creative ideas and notice how it will make them stand out!

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.

An informal, rather bold typeface without serifs, Mushmellow looks like it might have been written with a marker pen. In addition to the plain and bold weights, it comes with outline and “cactus” variants.

1654 Brown Street, from the street to our font library it's only one step. This font is inspired by the street typography, the radius of the font is the same than the street marker.

Milk Bath is a cute and funny handwritten font. It’s simple and friendly style makes this design incredibly versatile, fitting a wide variety of creative ideas.

Lemon Party is a cute and quirky handwritten font. It’s simple and friendly style makes this design incredibly versatile, fitting a wide variety of creative ideas.

Lelet Script is a TrueType font inspired by my mother’s exquisite handwriting. It has a graceful, smooth look that makes it very legible for any project.

Personalize your designs and make them stand out from the crowd with our collection of handwritten fonts! From quirky to elegant, we’ve got something for everyone!

Handletter Signature is a gorgeous, elegant and unique handletter-based signature font with a modern look. Improve your design or make it as your own signature!

This typeface was developed by Roland John Goulsbra in 1995. Almost like the printing of a child, the irregular forms of Agrafie make a unique impression.

Introducing vintage and classy display serif with a little touch of 3D to make your work more real so that readers are hypnotized by your work.

this is a cool sans serif font with a casual and complete with unique icons that you can make a logo or decoration on your design

Joyeux is a font family of an all caps font and a dingbat font with 52 cute clipart illustrations which will make crafting so much fun.

Shourtcut is a font designed for the needs of all your retro-themed projects and can be implemented to all the designs you want to make.

Sunkiss Cafe is a cute and funny handwritten font. It’s simple and friendly style makes this design incredibly versatile, fitting a wide variety of creative ideas.

Ventnor is a all caps futuristic sans serif font. It was created to help you designing makes gorgeous logos, posters, blog posts, social media, and more!

The Miller’s is a modern and casual script brush handwritten font. It’s casual charm makes it appear wonderfully down-to-earth, readable and, ultimately, incredibly versatile.

Mixink Std is a serif font features amazing swashes. It has a vintage feel and look that makes it perfect for any retro and nostalgic project.

Morganismi is the first font I made for myself. I originally used it for making notes at the outsider art exhibition Morganismi here in Sysmä, Finland.

Radio Classic is a retro handwriting font, the soft design makes it friendly to anyone, this font is the perfect choice for each of your designs.

Fishbones is a font set consisting of fish-bone font-bats. Nothing fishy here – an extensive set of characters makes this an unusual and versatile font.

Bubble Drink is a cute and funny display font. It’s simple and friendly style makes this design incredibly versatile, fitting a wide variety of creative ideas.

Stay and Shine is a strong and tall display font. Its sharp yet approachable feel makes this font incredibly versatile, fitting a wide range of contexts.

Say hello to Magic Dreams font. Made with love and joy. A comic look, so it will make your design more beautiful, cute, fun, and colorful.

The Arta font family was designed by David Quay in 1991. Its hand lettered appearance makes Arty a good choice for advertising and other promotional materials.

Candy Cake is a cute and sweet display font. The authentic lovely & fun touch makes it a perfect mates for your projects, in any design purposes.

With you is a sweet brushed handwritten font. Its natural and unique style makes it incredibly fitting to a wide spectrum of ideas. Thank You, Subectype

Full of love is a simple, fun, and relaxed handwritten font. Whether you’re using it for crafting, digital designing, presentations, or greeting card making, it’s perfect!

DB Trees includes several familiar and not so familiar tree designs with plenty of room for creativity to grow. Makes fun additions to your creative projects.

Anti Gravity is a cute and funny handwritten font. It’s simple and playful style makes this design incredibly versatile, fitting a wide variety of creative ideas.

Jebakan is a beautiful and charming display font with a bold vibe. Jebakan suitable for standout designs and make any design idea into a true standout.