Weird Better fonts are typography designs that imitate or simulate the appearance of liquids. They are often fluid and dynamic in nature, providing an illusion of movement and flow in letters and characters. Weird Better fonts can be created using different design techniques, including hand-drawn illustrations, digital effects, or 3D modeling software. Some common features of liquid fonts include: Fluid and dynamic appearance: Weird Better fonts have a free-flowing and organic appearance, mimicking the look and movement of liquids such as water, ink, or paint. Variations in thickness: The thickness of the lines and curves in Weird Better fonts can vary, creating an uneven and organic appearance. Versatile use: Weird Better fonts are commonly used in creative designs such as logos, album covers, and advertising campaigns to create an eye-catching and memorable visual impact. Overall, Weird Better fonts are a unique and creative way to portray text, giving a sense of energy, motion, and fluidity to design projects.

Hand printing typography revolutionized the way books were published. The earliest printing presses made it possible for newspapers to reach the doorstep every morning, for information to freely be shared among the masses for the first time on a large scale…and the fonts that were used in those classic times are forever embedded within the collective memories of societies across the planet. It is to this collective memory that we give a visual form with our new Hand Printing Press Pack. Up for grabs are a set of 10 Hand Printing fonts plus one "Stamps" elements font. The fonts are: the Normal, the Stencil, the Eroded, the Meshed and the Scraped in REGULAR and BOLD versions; each of them displaying a simplistic yet classic printing style and as often happens lately, we are also offering you an "elements" pack, the "Stamps" font, to go with these to create your customized stamp giving to your creations a touch of "official documentation".

Liquidity fonts are typography designs that imitate or simulate the appearance of liquids. They are often fluid and dynamic in nature, providing an illusion of movement and flow in letters and characters. Liquid fonts can be created using different design techniques, including hand-drawn illustrations, digital effects, or 3D modeling software. Some common features of Liquidity fonts include: Fluid and dynamic appearance: Liquidity fonts have a free-flowing and organic appearance, mimicking the look and movement of liquids such as water, ink, or paint. Variations in thickness: The thickness of the lines and curves in liquid fonts can vary, creating an uneven and organic appearance. Versatile use: Liquidity fonts are commonly used in creative designs such as logos, album covers, and advertising campaigns to create an eye-catching and memorable visual impact. Overall, Liquidity fonts are a unique and creative way to portray text, giving a sense of energy, motion, and fluidity to design projects.

Based on the lettering and graphic design of the Beat Generation era, Daddy-O was produced in conjunction with the Whitney Museum of American Art to coincide with the exhibition Beat Culture and the New America: 1950-1965. These way gone fonts and extras both capture and affectionately satirize the graphic design of the era. Package now features poet Rod McKuen in an updated version of the Beatsville album cover from 1959.

Bermula is a Contemporary, Classy, and Warm Serif typeface. Bermula has a Clean and Smooth details. The design was intended to improve upon the Legibility. Bermula included 16 Fonts. Regular and matching Italic, from Light to Black weight. Also included Variable Font support. OpenType features allow for the implementation of typographic such as Ligatures. and added Latin Language support. It’s a perfect choice for Branding, Magazines, Posters, Advertising, Print, Packaging, Headlines, Logos, Web Design etc.

EVERY is designed to be the most valuable typography equipment in your repertoire! Rich in visions, a wide range of features have been created to master all your typographic challenges par excellence: Italics, small caps, old-style figures, ligatures & arrows are just some of the many possibilities that EVERY offers. 28 Styles in three optical sizes gives you the opportunity to create fascinating design with the scent of iconic elegance. Be exceptional – EVERY day. www.typethis.studio

Looking for a big, bold, black typeface? Meet the fat solid curves of Blonk! This type is based on hand-drawn letterforms with basic curves and angles, so it still retains softness and has a handcrafted feel. Yet, its boldness suits poster design, packaging, and other uses that needs to draw attention, in an quirky yet distinctive way. All glyphs are handcrafted by illustrative designer Zeptonn. Prepare to make a Blonk statement!

Fada is a unicase geometric grotesque that was made on the basis of a logo for a bar, which we have designed. We were inspired by the license plate, in which the letters have specific heats in places conjoined. The only difference between upper or lower case characters is reduced and increased waist. This is characteristic not only for letters and digits. Fada - good for fashion, editorial, posters, logos and so on.

The DF Dudok is a minimal bitmap typeface which works very well in small sizes both on your screen and on paper. I am connected in a culinary way with the architects’ name W.M. Dudok. It was the first restaurant where I cooked under the critical eye of my chef Gerhard Braun. (Now La Stanza in Rotterdam) Well, it is incidently getting into my typeface work, the cook, the architect, his wife and...who knows

In 1994, Apple® Computer, Inc., asked David Berlow for “a future gothic” to replace Chicago®, their system font. Now called Charcoal®, the design was released with Mac® OS 8 in 1996. Through operating system bundles it found its way into every form of design. Released from constraint, Berlow designed Truth FB, a radical series with a spectrum of seven weights. Like its forbear, Truth FB opens new design avenues; FB 2005

A freeform linking script that uses OpenType programming to replace beginning and ending characters with uniquely designed variants. Also includes ligatures and an extended t-bar carefully designed to not collide with ascenders. (Note: Please view the image above for correct versions of the end and beginning letters, as they will appear in Indesign, Illustrator, etc. The Myfonts previews below are not Opentype savvy, and so these specially designed versions do not substitute themselves.)

Romela is a geometric sans serif font family. Contains 9 weights from Thin to Heavy with matching slopes. It is a blend of 70s geometric and modern style with a soft touch, minimalistic, elegant, warm, quirky, yet versatile, and easy to read. Romela was created for a satisfying reading experience, compatible with both text and display, and perfect for headers, titles, posters, websites, brands, apps, and a variety of other creative designs or projects.

No mystery here: this typeface is based on Edward Johnston’s 1916 design for the London Underground and, more specifically, as it was employed in posters boosting The Tube. To implement “lowercase” numbers, refer to the PDF character map, or activate Stylistic Set 1 in OpenType-aware applications. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Lithuanian, Moldovan and Romanian.

The hand-lettered title on a piece of sheet music for 1938's "Don't Be That Way" (as recorded by Benny Goodman) featured squared letters with rounded corners, slight variants in line thickness and interesting "overhangs". Additionally, some letters closed off on one end while others were opened, giving the impression of a slight "maze" effect. This unique song title was enough of an inspiration to be turned into Musical Arrangement JNL.

Karben 105 Stencil is a contemporary stencil font. The stencil breaks in the letters are applied in a way that is sensitive to the forms of the character in pursuit of a more elegant stencil. Karben 105 Stencil is available in a family of three weights. Karben 105 Stencil is closely related to Karben 105 and Karben 205 . All of the Karben fonts feature an extended character set, including accented characters for Central European languages.

Hello Aluyeaholics! Blue Cashews' alternates are inspired by the curved shape of a cashew with a blunt tip. Blue Cashews give the impression that we often see in the packaging of snacks, cereals, milk, and so on. So warm, sweet, fresh, crunchy and full of love!Coming with 220+ stunning and super easy to use alternates and ligatures. To get results like the preview just type B.2l.3ue.2 C.2ash.2ew.2s.3

Available in 3 ​fresh ​cuts plus a sweet picture font, Strange Times is a serifed hand-drawn family. Or is it handwritten? Either way, it’s quite a handy family​​ with a generous touch of quirkiness and packed with lowercase alternates for a nice organic feel. Powered by Contextual Alternates programming, these alternates will cleverly cycle at the ​simple ​click of a button. Strange Times are here. Let’s have a good time​. Cheers!​

The design of Kette evolved from searching new ways to make cool and semi-formal type. Study of aspects of legibility was part of the process when designing Kette. It suits posters, slogans. Condensed, Regular and Extended styles of Kette allow fitting variable long text in headlines retaining the style and feel of the original design. This Pro font is packed with all European and Cyrillic alphabets, small caps, variable figure sets and features.

Originally ZionTrain was built as a Cyrillic typeface for public transport navigation system. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. Here, on MyFonts, we present the ZionTrain STD versions with western latin including smallcaps and oldstyle figures in some faces in TrueType format; also western, central, baltic and turkish latin charsets, smallcaps, oldstyle numerals, few alternates, some arrows and fractions in ZionTrain OT OpenType format.

DIAMONDS AND RUST FONT DUO - a new fresh handmade calligraphy font. DAR Regular - Italic - Outline Script Historical SANS and SCRIPT MULTILANGUAGE OK Very suitable for greeting cards, branding materials, business cards, quotes, posters, and more!This font are perfect for wedding postcard. Or you can create perfect and unique design of your logo, blog, stationery, marketing, magazines and more :) Features: Ligatures Script UpperCase & Lowercase Numerals & Punctuations All style font Multilingualcharacters(AÀÁÂÃÄÅCÇDÐEÈÉÊËIÌÍÎÏNÑOØÒÓÔÕÖUÙÜÚÛWYÝŸŸ ÆŒßÞàáâãäåæçèéêëìíîïðñòóôõöøùúûüýÿ)

Technically a crowbar is a straight metal rod used for digging. The tool I had in mind when I named this font is called a jemmy or pry bar, but I guess I liked the name crowbar better. Crowbar font, like its namesake, is a very useful tool: its brush-like appearance fits any design, especially if you are aiming for the ‘scary’ look. Comes with a toolbox full of diacritics too!

Two handlettered typefaces from J. M. Bergling’s 1914 classic, Art Alphabets and Lettering collided to produce this lively and unusual combination. The caps were originally called "Morocco", and the lowercase are taken from his Keramic Text. The result suggested more of an Egyptian flair, in an offbeat kind of way, and so it got its name. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Eh, what's up, Doc? This cuddly little oddball of a typeface was originally released under the rather unlikely name of Hercules by the Amsterdam Typefoundry in 1926. This face includes OpenType Stylistic Alternates for b, h, h, k and l, which feature very tall ascenders with a "bunny ear" vibe. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

Sundry is J Foundry’s take on the early 20th century grotesque. The design draws influence from various designs of the period. Drawn and cut by hand, these sans have idiosyncrasies and quirks, producing a warm friendly look. The design objective was to even out the quirks and add consistency, without losing the warmth. Sundry looks to balance character and structure for a clear but personable read. Variable Fonts included in the Complete Package.

Stickley Decorations contains 26 classic images from the pages of "The Craftsman," the foremost journal of the American Arts & Crafts Movement of the early 20th Century. These are graphic elements that can be used in many ways and for all occasions, whether creating a custom greeting card or designing and producing unique personal stationery. They can be used exactly as intended, as "decorations" on a printed page, or they can be combined into unusual borders.

The 1912 American Specimen Book of Type Styles from ATF featured a quaint little offering called "Tabard", whose antique charm was enhanced by several rather quirky alternate characters. This version tosses out the standard characters and keeps the quirks in the works: the result is warm, engaging, slightly mischievous and a whole lot of fun. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

The initial inspiration for Technical Standard VP came from examining precisely machined labels on tools from cameras to cars, which need to be legible at all sizes. The streamlined look such processes achieve was reinterpreted and refined - the resulting font at the same time being robust and stylish, universal and unique, with its ten distinct styles offering great versatility. With 1120 glyphs in each style, it guarantees full support for all Latin languages.

Step onto the farm and experience the essence of Bench Grinder, a unique display typeface crafted with the inspiration of 19th century metal headline type. With its serifs stripped away, Bench Grinder is a font that embodies rustic charm and familiar comfort, evoking a feeling of being at home in the country. This one-of-a-kind typeface is the perfect tool to help you express your message in an unpredictable way. Whether you’re a farmer or a designer, Bench Grinder can convey your words with unhinged creativity and unbridled passion. Let it take you on a journey through the rolling hills and green fields of the countryside, where life is simpler and beauty is found in the most unexpected places. So embrace the unique and make your words stand out with Bench Grinder. Let it be your tool of choice to bring your message to life, and let it capture the essence of the rustic charm of the farm. Experience the beauty and unpredictability of this font and let your creativity soar! 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.

Get ready to burn rubber with Heavy Heap—the ultimate typeface for fans of hot-rod culture and high-speed thrills! This groovy psychedelic typeface is on fire, with a scorching look that’s sure to turn heads. With three sizzling weights to choose from, you can customize your typography to match your project’s intensity level. And with blistering mathematical symbols, torrid OpenType fractions, and a range of searing hot currency symbols, Heavy Heap is ready to take on any design challenge. But this headliner is more than just a pretty face—it’s a powerhouse of design options. It looks outstanding when used with warp and envelope effects, allowing you to create dynamic, eye-catching layouts that really pop. And with its bold, energetic style, Heavy Heap is perfect for any project that needs a little extra heat. From posters to flyers, from logos to website headers, this font is the ultimate choice for anyone who wants to make a brave statement. So rev up your engines and get ready to hit the road—with Heavy Heap, you’ll be riding in style! 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.

The silent film »The Cabinet of Dr. Caligari« (1920) is undoubtedly one of the breathtaking milestones within the German Expressionist Movement, a time of extraordinarily creative works of art as a reaction to a world in rapid change. The original intertitles of Caligari were worked out by the set designers (and painters) Walter Reimann, Walter Röhrig, and Hermann Warm, using a unique expressionistic language of form for dramatic and iconic lettering. When in 2010 KOMA AMOK’s Joerg Ewald Meißner and Gerd Sebastian Jakob were commissioned by the Institut Mathildenhöhe Darmstadt and publisher Hatje Cantz to design the catalog for the exhibition »The Total Artwork in Expressionism«—showing works of art, architecture, film, literature, theater, and dance—it was soon perfectly clear that a new typeface, inspired by the Caligari intertitles, should speak for all the expressionistic arts. An intense process of research and analysis began. The original letters of the Caligari intertitles were individuals on their own. Furthermore, each of the three title designers had added his specific approach to the basic Caligari type style. From hundreds of different As to Zs a choice had to be made, which should be THE characteristic Caligari letter for a digital typesetting font. Finally the chosen letters were cut and drawn again, missing letters were added according to the formal priniciples, all-in-all 1000 glyphs were digitised to complete a usefull OpenType font ready for use. When in the autumn of 2010 the exhibition started successfully with great media interest, the posters all over Darmstadt announced »You must become Caligari!« – set in the brandnew typeface. The font Caligari Pro offers alternative forms for every letter and a whole bunch of ligatures, thus creating an expressive, individual image of headlines and text. By using included Stylistic Alternates the image will get even more vivid. Caligari comes with a complete set of expressionist ornaments and true old style figures—thus the heyday of the Expressionist Movement and the era of the silent films can be revived typographically by the means of today: »Express Yourself!«.

A rare natural history book from the early 18th century served as inspiration for the MVB Sirenne typefaces. The artisan who engraved the book—likely a map engraver—had a distinctive style of lettering that was used on the descriptive captions for the many tropical fishes depicted in the book. The plates used to print the illustrations would have been copper, the letterforms hand-engraved. The designers at MVB Fonts found the distinctive quirks of the roman letterforms and the eccentric stress of the italic interesting enough to embark on developing digital fonts based on the engraved samples. As the captions were hand-lettered, there was a great degree of variation, making a direct “revival” impossible, so Alan Dague-Greene interpreted the characteristics of the letterforms into a workable typeface design. The challenge was to retain a rustic quirkiness to the forms, yet have a typeface that was useful for more than display. The solution was to make optical sizes. The “Six” faces are full of character, but strong and open for clarity at small sizes. The design of the “Text” faces is more subtle, so that they can be used for passages of text, but retain the feel of their model. MVB Sirenne “Eighteen” and “Seventy Two” are intended for display use.

Introducing Paneur – Expressive Serif Typeface Serif Playfulness Paneur – Serif Typeface is far from your typical, formal serif font; it introduces a delightful touch of playfulness to traditional design. Informal Strokes Notably, Paneur’s strokes take on an informal quality, adding an expressive flair to your projects while steering clear of the formality usually associated with conventional serifs. Endless Expressivity What sets Paneur apart is its ability to offer endless expressivity. It’s the perfect choice for those who wish to break the monotony in design, infusing each project with an invigorating energy and dynamic spirit. Never Boring Design Indeed, Paneur is the antidote to boring and conventional design. Its informal serifs guarantee that your creations are never dull, but rather lively, captivating, and bursting with personality. In Conclusion In summary, Paneur – Serif Typeface is the font of choice for non-traditional expressiveness. It introduces a playful and informal touch to your projects, breaking free from the constraints of traditional serif fonts. By choosing Paneur, you ensure that your designs are engaging, full of life, and far from mundane.

At Comicraft we're always looking for new ways to help our loyal customers get more bang for their buck. There are times when when the big financial institutions turn their backs on the average working Joe, but that’s why we want to help you restructure your finances, renegotiate your commitment to font purchases... We're here to help you stretch your dollars a little further. With that in mind, our latest release is twice as wide as our usual fare and will help you make it to the end of the month in ways other fonts won't! It’s not so much a bailout or a refi... It’s more of a credit extension. I wonder what we should call it? See the families related to Credit Extension: Credit Crunch.

A distorted and fun Persian Arabic font which brings a lot of diverse emotions! Garmalad font is playing with standard and traditional way of Right to Left Arabic script. Based on Naskh, letters are designed in a deformed and disintegrated way to make it a typographic artistic typeface at the end. This font is a great choice for all graphic designers, typographers and visual artists. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

This typeface was inspired by milk sherbet, which is enjoyed cold on a hot summer day. Rounded shapes and soft stroke endings make the typeface look cute. Heavy works great for headlines with its extra-heavy stroke weight and size, while Regular and Light are best for body text.

This typeface was inspired by milk sherbet, which is enjoyed cold on a hot summer day. Rounded shapes and soft stroke endings make the typeface look cute. Heavy works great for headlines with its extra-heavy stroke weight and size, while Regular and Light are best for body text.

Originally designed by calligrapher Arthur Baker, Marigold font was released by Agfa Compugraphic in 1989. Marigold font is narrow in width like the chancery hand, and its shapes are true to the prescribed Renaissance proportions. The authentic handwritten look makes it versatile for a large variety of informal uses.