This is our Valentine's Day-themed font that weaves the romantic melodies of love songs into your designs. This unique typeface infuses the spirit of Valentine's Day with the heartfelt emotions of music. Valentine's Day Cards: Create heartfelt and visually stunning Valentine's Day cards that sing with romance, making your loved ones feel cherished and special. Love Letters: Craft beautiful love letters that showcase the beauty of Valentines Notes, making your declarations of love even more touching and memorable. Event Invitations: Design enchanting invitations for romantic dinners, engagement parties, or weddings, setting the tone for a truly memorable celebration of love. Digital Expressions: Elevate your digital expressions of love with Valentine's Day-themed social media posts, e-cards, and website elements that capture the essence of love in a unique and musical way. Functional As far as we know, this font includes everything you would need to write a music sheet.

This typeface came out as a side idea while I was working on one logotype. Suddenly I came up with an idea of creating “tuned” version of the typeface, based on that logo. The “tuning” turned me in a completely different direction and in a few hours of haste I was looking at a completely different typeface. A few days later I made this font available for free, since it wasn't meant to be at all :-). A few months later, I saw my typeface used in the menu in one pizzeria. I was amazed and glad and happy and proud, all at the same time. Oh, by the way: the logo I was working on was of different style and even of another stem’s widths. So, this is truly a font of it’s own design. Naftalin has both Latin and Cyrillic sets, since it was used with both.

Grazia is a joining script with zero contrast. That means that I designed the line of the letters so, that they look equally thick all the time. The script is almost upright and has this 1930s look to it.

Zombie Brush is a haunting script font that brings the undead to life with its eerie charm and brush-style appearance. Designed intentionally in large letters, this typeface commands attention and exudes a sense of horror and intrigue. Each letter is meticulously crafted with brush-like strokes, adding a touch of handcrafted artistry to the font. The brush-style appearance of this font evokes a sense of chaos and unpredictability, as if the letters were created by an unsteady hand under the influence of dark forces. The large size of the letters enhances the font's imposing presence, making it impossible to ignore. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Zombie Brush fits in headlines, logos, movie posters, flyers, branding materials, print media, editorial layouts, headers, and zombie-themed projects. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

I just visited my good friend Jakob Fischer from Pizzadude.dk in Denmark. As always we talked fonts, drank coffee and walked endlessly through Copenhagen, the city where he lives. We thought it would be a fun idea to each create a font from a handmade sign we saw in the city. We only had like 7 glyphs to work with, so the rest was up to our imagination. We also thought it would be nice to give the fonts a similar name. Mundbind means mask in Danish. When you Google translate it, it will give you the wrong translation (it will say 'mouth piece'), so trust me on this one! My font is called Mundbind NL - where the NL stands for Netherlands. Jakob will hopefully call his finished font Mundbind DK - where the DK stands for Denmark. Mundbind NL comes with a monster load of diacritics (including Vietnamese) and two alternate glyphs for the lower case letters that will cycle as you type.

Сurvede Pro – is a sophisticated multilingual typeface with fine details on the letters. Great for working with headlines for magazines, newspapers, creating logos. The font also has Cyrillic, Latin and many ligatures

Ultra legible forceful sanserif in 32 fonts Parisine was born as official parisian métro signage typeface. This family of typefaces has become over years one of the symbols of Paris the Johnston for the London Underground or the Helvetica for the New York Subway. The Parisine was created to accompany travelers in their daily use: ultra-readable, friendly, human while the context is a priori hostile. Meanwhile, Parisine is now a workhorse and economical sanserif font family, highly legible, who can be considered as a more human alternative to the industrial-mechanical Din typeface family. More human, but not fancy: No strange “swashy” f, or cursive v, w etc. on the italics, to keep certain expected regularity, important for information design, signages, and any subjects where legibility, sobriety came first. Born as signage typeface family, the various widths and weights permit a wider range of applications. In editorial projects, the Compress version will enhances your headlines, banners, allowing ultra large settings on pages. The Narrow version will be useful as direct compagnon mixed to standard width version when the space is limited. The various Parisine typeface subfamilies Parisine is organised in various widths and subsets, from the original family Parisine, Parisine Gris featuring lighter versions of the usual weights and italics, Parisine Clair featuring extra light styles, to Parisine Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord. Many years of adjustments were necessary to refine this complex family. Initially, Parisine was designed by Jean François Porchez in 1996 for Ratp to solely fulfil the unique needs of signage legibility. Parisine remain the official corporate typeface of the public transport in Paris, the worldwide capital for tourism, and now integral part of the French touch. Directly related, Parisine Office was initially created for Ratp’s internal and external communication, Parisine Office is available at Typofonderie too. Not connected with Ratp and public transports, Parisine Plus was created as an informal version of Parisine. Parisine: Introducing narrow and compressed families About Parisine Parisine helps Parisians catch the right bus Observateur du design star of 2007

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. A biography/story of each homeless person captures their story, to help raise awareness and bring some dignity to the life of homeless people. Monotype is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Juan Carlos was born in Barcelona, Spain 46 years ago. Since the age of 17 – and during eleven years – he worked double shifts of eight hours every day in a factory. Excessive work and family problems debilitated his health and he lost his job. He then faced a dilemma: to spend unemployment benefits to pay for rent or for food. For a few years, he worked helping in the kitchens of different restaurants while he lived on a pension, until he was definitively left without work and ended up living in the street for 10 years. “In the street I tried to find rest in the ATMs of banks. I preferred to be alone, and if I ran into conflictive people, I looked for somewhere else” he explains. Living in the street he was the victim of an aggression. Since then, with the help of Arrels he moved into a pension. Today, Juan Carlos is a volunteer in the shower service of Arrels, the same showers he used during years. He also collaborates with the maintenance team, helps prepare hygienic and cleaning material, and participates in activities such as the theatre group and the football team.

Throughout time, history’s architects have incorporated some of the finest illustrations of type into their great works--cuneiform on Mesopotamian ziggurats; Greek etched into the temples of the gods; inscriptions marking the monuments of mighty Rome. From these Roman inscriptions specifically, we take our capital letters of today; and while we've lost the need for serifs over time, our current characters maintain the classical foundations, even after being distilled to their simplistic forms. Here’s where we have the basis for Le Havre Titling. This updated face is a carefully optimized version of Le Havre that uses purely capital lettering. Originally inspired by the golden period of the passenger ship and the French port that bid a rich bon voyage to so many famed, luxurious ocean liners of the Roaring Twenties and Thirties, the typeface includes an exciting array of ligatures that brings it into the present day and gives designers a tremendous amount of versatility in their work. With its seven weights, Titling looks equally at home on the side of a building as it does in a finely crafted invitation. With over five hundred glyphs, Le Havre Titling offers a multiplicity of options for your projects. Combine ligatures, play around with two sets of art deco forms, use original caps, and more; every one of these is obtainable with the OpenType functionality. The new design also shares five weights with the original Le Havre, allowing you to maximize your potential through its interchangeability. Titling’s Thin weights are delicate but not too fragile, and its geometric forms give each individual composition you create an exquisite and beautiful sense of emotion. Without a doubt, this fresh, fashionable take on the classical forms offers your reader refined, yet unanticipated approach as he or she travels through your text.

Tabac Slab was created by combining several contradictory influences, the result of which is a universal linear font. The combination of brisk serifs and refined calligraphic details in the structure of the characters serves to create an original concept that mixes influences from both book and advertising graphics. Serifs aid legibility in long texts, while small drawn details realise their full potential in sizes of twenty-four points and larger. The basis for our Egyptienne was Tabac Sans, with which Slab logically forms a harmonic duo. The addition of bracket-less serifs caused the typeface to thicken and become solidly anchored on the lines, giving a firm answer to all typographers who like to complain about the slight exuberance of grotesque fonts.

House Sans is a 100 style super-family made up of 5 widths, 10 weights plus matching italics in two design approaches through stylistic alternates to the E, F, L and e characters. The weights range from compressed to expanded, from thin to heavy creating a plethora of styles to create with. House Sans has a unique visual structure to key glyphs such as the A, M & Y that give the font a stand out feel while the contrasting horizontal bars provide a nice balance. The compressed weights are great for fitting in tight spaces whilst the Heavy styles are perfect for standing out from the crowd. The font features extensive support for European and Cyrillic languages, stylistic and discretionary ligatures, plus superiors, inferiors and fractions.

Sumply is a multi-layered type family based on geometric forms. A monospace display typeface which comes as a family of four. It is equipped with OpenType features and contextual alternatives to create a versatile and fresh output. Sumply initially was designed to be used in personalization processes in digital printing. By choosing the basic geometric cut (FOUR), patterns and various graphic elements can be created just by importing text variables into the indesign data merge. If combined with the other cuts the possibilities are sheer endless. Sumply was selected to be in the 2016 edition of Typodarium.

Skaremoosh is display typeface that is wild and weird. It plays by its own rules, and so will you when you use this font. Included in Skaremoosh are standard ligatures, currencies, ampersands and footnotes consistent with the design. Skaremoosh is complete with alternates for each letter, and alternate ligatures for variation and stylistic choices. Skaremoosh is well suited for an informal look and feel for apps, games, fashion, posters, menus, graphic novels, and anything eye catching. This font was created after months of working on some very rule driven font projects. The need to just let loose was intoxicating - and the exact opposite of what I was doing. I really hope this font inspires some spirited designs!

Silk Serif Condensed is the condensed version of Silk Serif, a high-contrast typeface with thin, pointy, heavily bracketed serifs, and ball terminals in the appropriate places, as well as bracketed junctions in various letterforms. The main feature of the typeface is the disconnection between the bowls and the stems. However, the bowl is very close to the stem, creating the illusion of connection.

Italiano Fushion is part of an expanding project on which we have been working for several years and which we are committed to in the future. Like the first two, this one too starts from the study of the great Futurist adventure of the early 1900s by great artists such as DEPERO and MARINETTI, who twisted the world of typography with shapes and colors. Italian Fushion is made up of almost 2,000 glyphs for each weight and in addition to hundreds of alternatives mainly, such as initials and endings of each word but also different alternatives for the letters I, J, Y. Thanks to the characteristics of Open Type, you can change them in automatic many of the alternatives, use it as a simple text font by changing only the I's and J's that have the typical capital dot, and giving the text a more fun breath to the composition. Italiano Fushion is suitable for large texts and to get the most out of it it is compulsory to transform the text into UPPERCASE text using the tabs of graphic applications such as Illustrator, or activate the Alternavive tabs and the various options of SS. Ideal for creating Logos, Head Lines, Web Titles, Posters, Epub Covers, Tatoo Projects, T-Shirts, Drink Labels ... Thanks

Vocal is a sans serif type family designed by Ani Dimitrova. The family has 28 weights, ranging from Hairline to Heavy with matching Italics and Small Caps. In addition, you get a nice alternate version of the Heavy weight with extra thin accents. Which is a pure joy for setting titles. Vocal comes with extended coverage of the Latin, Greek and Cyrillic Script. The Regular and Medium weights are perfect for body text while the extra drawn Italic gives an interesting texture to the text. The stems are a little tapered to the middle and the corners are cutted, which makes them a little rounded in small sizes. That gives the font an organic, warm and friendly touch. Vocal is equipped for complex, professional typography with Open Type Features including — small caps, localized forms, standard ligatures, subscripts, superscripts, numerators, denominators, numbers in circles arrows, currency symbols and fractions. The fonts are carefully hinted and its wide proportions make them a perfect choice for screen usage. Vocal suits also ideal for book and editorial design.

Youth Heritage Font is a vintage bold script font that pays homage to the rich visual heritage associated with youthful exuberance and retro aesthetics , This typeface combines bold, expressive strokes with a script style reminiscent of classic hand-lettering from bygone eras, capturing the spirit of vintage design. Here's a detailed explanation of the key features and characteristics of the Youth Heritage Font: Features: Vintage Aesthetics: The Youth Heritage Font is designed to evoke a sense of nostalgia, drawing inspiration from vintage typography prevalent during the mid-20th century, Its design elements reflect the bold and charismatic lettering styles associated with retro signage and advertising. Bold and Expressive Strokes: One of the defining features of this font is its bold and expressive strokes. Each letter is crafted with confidence, making a strong visual impact. This characteristic contributes to the font's ability to command attention and stand out in various design applications. Script Style: The script style of the font imparts a handwritten and personalized feel. The cursive letterforms flow seamlessly, creating a sense of dynamism and adding a touch of informality to the overall design. Distinctive Lettering: Each letter in the font is crafted with attention to detail, featuring unique and distinctive characteristics. This ensures that the font maintains its individuality and offers a distinct typographic personality. Applications: Vintage Branding: The Youth Heritage Font is well-suited for vintage branding projects. Apparel Design: Designers in the fashion industry can leverage this font for apparel branding and graphic designs. Its bold script style adds a retro flair to T-shirts, hoodies, and other clothing items, giving them a timeless and stylish appeal. Retro Signage: The bold and expressive nature of the font makes it a perfect choice for retro signage and display purposes. Event Posters and Flyers: When designing promotional materials for events, concerts, or parties with a vintage theme, the Youth Heritage Font can contribute to a cohesive and visually appealing poster or flyer design. Social Media Graphics: Its bold and expressive script style can make posts and announcements more engaging and shareable.

A silk screened sign promoting a mattress sale that was spotted on Flickr features Art Deco-influenced sans serif lettering that is the basis for Innerspring JNL.

Proudly Present Amoretti - Handwriting Type, created by ikiiko. Amoretti is an expressionist handwritten typeface whose ethereal and flowing strokes perfectly reflect the soul of a poet's work. The erratic twists and turns give the appearance of an authentic, passionate, and emotional handwritten message. This font have a different iterations of each character were made to accentuate the font's organic appearance and to convey a sense of spontaneity and randomness. This typeface is perfect for an nature design, feminine layout, wedding & invitation, book cover, and also good for quotes, or simply as a stylish text overlay to any background image. What's included : Uppercase & Lowercase Number & Punctuation Alternates & Ligature Multilingual Support Works on PC & Mac

German type designer Siegfried Rückel created this display and sans FontFont in 2002. The family has 6 weights, ranging from Light to Bold (including italics) and is ideally suited for advertising and packaging, logo, branding and creative industries, poster and billboards as well as sports. FF Alega provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Greek writing system. This FontFont is a member of the FF Alega super family, which also includes FF Alega Serif.

GENDER DIVERSITY Introducing 'Fempowering' – designed to champion gender diversity in typography, created by a sustainable graphic designer who recognized the need for balance in a predominantly male field. SPACE-SAVING In the world of typography, space is often a precious commodity. 'Fempowering' is designed with this in mind. Its space-saving characteristics make it an ideal choice for print materials, editorial layouts, and any project where readability within confined space is paramount. GLYPH COLLECTION At the core of Fempowering lies an extensive glyph collection. It goes beyond the standard characters and numbers, embracing specialized symbols, mathematical notations, and even phonetic transcription. This comprehensive assortment opens new creative avenues, enabling you to craft unique and captivating designs. Franziska Herrmann

German type designer Yanone created this sans FontFont in 2010. The family has 14 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, logo, branding and creative industries as well as poster and billboards. FF Amman Sans provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Arabic writing system. This FontFont is a member of the FF Amman super family, which also includes FF Amman Serif.

RensGazet is a decorative blackletter typeface with elaborate upper-case letters and condensed lower-case characters. It was inspired by the masthead of a short-lived weekly newspaper, The Rensselaer Gazette, which was published from 1857 until 1860. I could not find any existing digitized fonts that replicated this old typeface, so I decided to create an interpretation of it. I had samples of few letters in large point sizes and a number of others at a small point size, though these were blurry and not sharply defined. As a result, this typeface is undoubtedly considerably different from the original. Also, my spacing is much tighter than that in the source samples.

Lithuanian type designer Mindaugas Strockis created this slab FontFont between 1998 and 2002. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for advertising and packaging, festive occasions, small text as well as software and gaming. FF Elementa provides advanced typographical support with features such as small capitals, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with proportional oldstyle, tabular lining, and tabular oldstyle figures. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. This FontFont is a member of the FF Elementa super family, which also includes FF Elementa Rough.

Canadian type designer Nick Shinn created this display, serif, and script FontFont between 1994 and 2010. The family has 16 weights, ranging from Light to Extra Bold (including italics) and is ideally suited for advertising and packaging, book text as well as festive occasions. FF Fontesque provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic writing system. This FontFont is a member of the FF Fontesque super family, which also includes FF Fontesque Sans.

German type designer Erik Spiekermann created this sans FontFont between 1997 and 2002. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for logo, branding and creative industries. FF Meta Correspondence provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. This FontFont is a member of the FF Meta super family, which also includes FF Meta, FF Meta Headline, and FF Meta Serif.

A beautiful and easy-to-style font duo to elevate your design. Hug Shack expresses a feeling of joy and cute overall. Through the script font, Hug Shack brings your design to delve deep into the world of cuteness, while the display font creates modern look. You can mix and match this harmonious font duo to make gorgeous result in your design. This font become more special with awesome clipart as bonus. Features: Stylistic Sets Ligatures Multilingual Supports Numerals and Punctuation It can be used for branding, logos, social media quotes, stickers, posters, vintage designs, wall art, merchandise, social media, and many more. Get more inspiration by seeing the preview. Thank you for purchasing our premium fonts! Happy Designing!

German type designer Yanone created this serif FontFont in 2010. The family has 8 weights, ranging from Regular to Extra Bold (including italics) and is ideally suited for advertising and packaging, editorial and publishing as well as logo, branding and creative industries. FF Amman Serif provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Arabic writing system. This FontFont is a member of the FF Amman super family, which also includes FF Amman Sans.

The Atrament font family was originally conceived in 2003 as the corporate display type family for Suitcase Type Foundry. Its original source of inspiration is the front cover of the Devetsil - Revolucni slovn’k almanac (1922), designed by Karel Teige. The lettering on this cover is a condensed sans serif with rounded stroke terminals. Atrament is significantly broader than the model and its characters are better balanced, reflecting the evolution of semi-condensed sans serifs throughout the 1960s. The horizontal strokes of both lower and upper case are less stressed than the vertical stems. Noteworthy are the unusual tiny gaps in the apex and vertex of letters with diagonal strokes, designed to prevent ink from spreading and smudging the letter shapes. This detail is one of the main features of the font's character. The general feel of the italics closely matches the strictly vertical, parallel character of the regular cut. When converting the family to OpenType the alternate character shapes from the Alternator weights were incorporated in the regular cut, which allows the user to switch selected characters from one shape to another within the same font. A number of glyphs and accents were corrected, and all the glyphs missing in the Suitcase Standard character set were added, along with the relevant kerning pairs. The individual weights of Atrament Std thus contain accented upper and lower case, small caps, alternate glyphs for most European languages, nine types of numerals, superscript characters, caps glyph versions, and much more. Its narrow proportions make Atrament the perfect choice whenever economy of space is a must. It is however not very well suited for setting long texts. Ideal for headlines and display use, it is perfect for situations where the text needs to make a great impact in a little space.

Bignord is a brand new font with a vintage look and style. It is inspired by vintage packaging and from typographic cover lettering. Bignord is available in up to 5 different stylistic elements for some letters so you can create a vintage feel from the swash of each letter. This font was created for designing covers, labels, posters, logos, branding, etc that need a vintage design feel. It also comes with Ornament Fonts that will support your design with a more vintage look.

946 is a multilingual techno-style family developed by Berlin-based type designer Roman Wilhelm (RomanType). While more and more text families have recently been extended to a multilingual and multi-script level, not so much attention has been given to the more decorative styles. The 946 family does exactly that. A lot of care has been given to the various diacritics: they were designed a little more brutal, a little more European than with some other fonts of this category. Do also watch out for the non-Latin legs of this family. 946 is inspired by electronic music. When Roman found a second-hand Roland TR-606 drum machine in a store in his hometown back in 1995, he started to hang out with would-be DJs and musicians, trying to play the beats that went around the globe. When he started to study visual communication three years later, he was assigned the matriculation number of 946, which has now become the name of this family. Language support: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish, Vietnamese, Zulu. Do also watch out for the other script versions of this family!

In the amazing world of typography, the Glasfur font shines as a bright star. This font brings a sense of playfulness, uniqueness, and strength to any of your projects. With its bold and vibrant Bubble display style, Glasfur will take your message to the next level across a variety of visual displays. Glasfur's special features are not limited to his striking appearance. With four family variants, including regular, blurry, outline, and shadow, this font provides unlimited flexibility to depict your creativity. In addition, the ligature and alternate features allow you to create unique and interesting letter combinations. We understand that every project has different needs, and that's why Glasfur supports multiple languages, allowing you to connect with a global audience easily. Make each of your visual displays special with Glasfur. Own this font immediately and make your work the main highlight!

Babyhome Elegant Script If you are needing a touch of casual chic calligraphy for your designs, this font was created for you! Babyhome was built with OpenType features and includes beginning and ending swashes alternate characters for both lowercase letters, loads of different swash alternates for lowercase letters, numbers, punctuation, alternates, ligatures and it also supports other languages :) Accessing the swashes / opentype features / glyphs: This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CS, or Adobe Photoshop CC. You can access the swashes and alternates from the 'Glyphs Panel' in these programs. More Questions? Here are some (potential) answers! You are not permitted to resell this font in any way. Multilingual Support is included for Western European Languages Also, the sans-serif font used in the preview images is Gotham :)

Dufour was named in honor of an art deco font called "Independent" designed in the 1930s by Collette and Dufour. "Dufour" is influenced by the original font, however, there are substantial differences: instead of small caps, a true lower case was created, the upper case character proportions and shapes have been greatly modified, and all missing characters have been created to make a truly modern font which nevertheless has all of the panache of the original. A related font is Collette, designed by Anton Scholtz, however, Dufour has a softer feel that is more true to the original art deco period. Dufour comes in four styles: Dufour Regular, Dufour Regular Outline, Dufour Condensed, and Dufour Condensed Outline. The font has been carefully kerned and best results are obtained if kerning is switched on. (All-caps passages work well.) It is best used to create a retro feel and in headings, subheads and in short passages of text. Very effective in marketing for products for children.