Introducing the Nura Font Family is the modern Display sans serif family. The Nura Font family comes in various sizes from Thin to Black, giving you the freedom to get creative with this font. With strong characters in the size of Black, it is very suitable for use for sign displays. and other sizes you can use as needed for your project

Good Vibes Only! This hand drawn brush font gives a loose and laid-back feeling to any project. Included with are 10 common connector words like "the" "and" and "with" which can easily be accessed through Illustrator's glyphs panel. Also included are 24 hand drawn sun & surf themed icons.

Some time back, a few basic characters were drawn out (possibly inspired by some vintage sheet music) and set aside for a future font project. Despite being incomplete for a few years, this once-forgotten design is now available as Deco Revival JNL, in both regular and oblique versions.

Cinematic English is a decorative font inspired by modern movie logotypes and classical black letter typefaces.

It starts slowly, gently drawing you in... you're introduced to a number of strangely interesting and compelling characters. The plot seems at first to be satisfyingly predictable, then -- suddenly -- the narrative takes a completely unexpected turn! The protagonist is thrown into a series of devastating and alarming twists and turns! The antagonist triumphs -- evil trounces good, mass hysteria seizes the city streets! Our Hero is separated from his One True Love, and it seems that she has fallen for The Villain of the Piece! Will Good Prevail? Will Evil Perish? Will Love Conquer All?!? I don't know yet -- that's as far as I've got. Don't worry, it has a Great Ending.

Happy Cloud is a fun, tall handwritten font created by Cultivated Mind. This font features five font weights (Light/Regular/Bold/Black/Heavy).

Douceur (pleasantness in French) is an all caps, serif typeface with a flourish. It was created by hand in one go: no sketches, no try-outs. The font comes in two styles: regular (outlined) and black. Due to style naming issues, the black version will show up as a different font. Douceur comes with all diacritics.

Fifty Famous Fairy Tales was inspired by lettering on the cover of a children’s book of the same name published by Whitman Publishers back in the 50s or 60s.

A whimsical little serif transporting you back in time. Based on vintage hand scribed italics, Fairytale Serif is ready to charm it's beholder with its quaint inky edged letters.

Gold Diggin is an authentic hand-drawn original. It harkens back to posters from the Gold Rush Era. Add some humor and moonshine to your designs with Gold Diggin.

How can we possibly call our line of celebrity fonts the MASTERS OF COMIC BOOK ART if it doesn't include a font based on the remarkable work of comic’s renaissance gentleman, artist/writer/colorist/letterer, Dave Gibbons?! Based on Dave’s easy-on-the-eye hand lettering, this is the font Dave himself uses to letter projects such as STAR WARS: VADER'S QUEST, MARTHA WASHINGTON & BATMAN: BLACK & WHITE. Other guys may imitate him, but the original is still the greatest! Get in with the In Crowd and check out the font created by Mister Fontastic for Dave Gibbons Original Graphic Novel, The, ah, The Originals. Yes, Dave Gibbons now comes in lower case, it’s not just what he does when he gets back from the off license. Be sure and pick up The Originals from Amazon -- now available in paperback, and probably still available as a hard case, much like Dave. After the crack about the beer above, I'm guessing you'll find me with a broken spine in the remainder pile. See the family related to Dave Gibbons: Dave Gibbons Journal & Dave Gibbons Lower .

All 6 fonts use the characters A - K and a - k to show two planets/stars/moons moving across each other. Nice and simple. There's a different number of points on the stars, or they're different sizes, and some appear to pass left-to-right, and some appear to pass the other way. Just type in ABCDEFGHIJK or abcdefghijk and you'll see. Two fonts have all the characters on the same level, (All-Black and Black+White). The Offset font has the 'sun/moon' with one slightly above the other and in black and white, and Half has them all-black. Partial has them even further separated in 2-tone. NearMiss is a very close shave. Comma, hyphen, and full stop/period give just a single symbol; there's a Space, and that's it.

Kiara typeface is a typeface designed for informal titles with very expressive letters. It also contains more than 12 variants (Thin, Light, Regular, Bold, Black) as letter alternatives and options such as "Black Shadow-Black Shadow Alternative".

Sheldrake JNL is the second in a series of display fonts modeled from actual water-applied decals that were manufactured by the Duro Decal Company of Chicago (now Duro Art Industries). The font's name derives from the actual phone exchange for Duro, back in the days when a telephone listing had a name-number assignment for recognition. In this case, their number began as "SH(eldrake)-3".

This font is a late work of the famous Berlin font artist Martin Wilke. Presented by Linotype AG in 1988, Wilke is a lively font with eccentric, playful forms. Wilke was influenced in part by the letters of the Irish handwriting in the Book of Kells, written in the late 8th century, while the pronounced contrast in strokes goes back to the styles of the 18th century. the font’s uniqueness is particularly emphasized when used in larger point sizes.

Grota is back in its new Sans and Rounded versions. The complete family consists of 40 fonts, 10 different weights, cursives and an alt version. Grota Sans Rounded, designed by Eli Hernández and Daniel Hernández, is a grotesque font with Latin spirit. This type accompanies Grota Sans and Grota Unicase. It’s ideal for logos, brands, books, headlines, etc.

A whimsical and playful font that harks back to the charm of childhood toys and creative imagination. Inspired by classic peg and construction toys, this font brings a delightful twist to typography. It's as if each letter has been carefully sculpted from colorful pegs, inviting you to assemble words like a puzzle, creating your own visual narrative.

The Book of Kells is a handwritten Irish text which dates back to the 8th century. Kris Holmes and Janice Prescott digitalized some letters from this book and some from a Grotesk font in the style of Frutiger. A computer filled in the blanks and the designers then gave the font its finishing touches by hand.

AdieuTwo is a radical revision of Adieu which was a revision of my original font, Chivalry, that was traced from Chevalier back in the mid-1990s. Its roots are obvious, but this one has small caps, small cap figures, oldstyle figures, ligatures, and more. This is a thoroughly up-to-date font ready to be used for stylish heads.

Grota is back in its new Sans and Rounded versions. The complete family consists of 40 fonts, 10 different weights, cursives and an alt version. Grota Sans Rounded, designed by Eli Hernández and Daniel Hernández, is a grotesque font with Latin spirit. This type accompanies Grota Sans and Grota Unicase. It’s ideal for logos, brands, books, headlines, etc.

Step into the world of vintage charm and timeless grace with our "Bali Bliss" font! "Bali Bliss" is a script font that effortlessly channels the retro vibe, oozing with an irresistible charm that takes you back to a bygone era. Its retro-inspired design taps into the collective memory, making your designs not just beautiful but also deeply relatable.

Create bold headlines and elegant designs with a versatile QSansPro font family. Excellent for large type as well as logos, quotes, advertisements and more. QSansPro is a strong and sophisticated sans serif, yet classic and you'll keep coming back to it again. Each font in this family is full of character and can stand on its own.

The DF-Daantje is an icon font based on a brisk black creature: our Fell Terrier ‘Daantje’.

This font packs some punch Remember the TV Batman Blurbs POW, BANG, WOW, and of course SHAZAM!

A while back I created a nice font called Harimau. It is a childish font, with a happy feel to it. Harimau had some unusual glyphs, most notably the 'g' and the 'j', which, for some designers, were a little too unusual. Therefore I have created a new font based on the old Harimau: it is similar, but comes with 'normal' glyphs.

Hakan is an modern display font with an Arabian look. This font particularly for those not native to Arabic languages. Hakan try to bring back the Baghdad and Alladin memories to your design or typography. The font suits creative titling on both web and print, perfect for scroll text. Well balanced letters make for readable blocks of copy or headings.

HEY YOU GUYS! Goondocks PB is a faithful recreation of the titling font from 1985 film, "The Goonies". This was a lot of fun to recreate and flesh out, and it has that purposefully awkward appeal that a lot of Pink Broccoli fonts are imbued with. With a pseudo unicase styling, wonky blockish style lettering, and that visceral tieback to the 80's, Goondocks brings back fond memories, perfect for those unorthodox creative designs.

Coal Brush is a bit of a misleading name. It looks as though it was made with a brush, but it was, in fact, made with a almost dried out old marker pen. But a font named ‘dried out old marker pen’ doesn’t really fly, so I decided to pimp the name. There you have it, you can’t even trust an honest typographer! Marker pen or brush, Coal Brush is a very sweet little font. It is all caps, but upper and lower case differ and can be mixed freely. Plus there’s a hidden stash of alternates for the lower case letters and an alternate ampersand! I actually threw that in to make up for my lie. So, use it for your books, your posters, your rap albums, rock operas, grilled food restaurants and designer BBQ sauces. It’s yours for the taking!

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

TA Bankslab graphic presentation at Behance The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

This hand-lettered italic casual is another versatile font produced by Jeff Marshall, aptly named “Flick” due to its off the brush casual feel. This style was a work horse back in the day where it was used on cafe menu boards through to regulation lettering on trucks and aircraft.

Axteroid was made to look like something that was teleported from a computergame from way-back in the 80s. To make it more 21st century-like, I have spiced the font up with some OpenType alternate letters and ligatures! You will need to use OpenType supporting applications to use the autoligatures.

This font is a must for dinosaur lovers, as it brings back to life a variety of these huge reptiles. Besides figures of complete dinosaurs there are also a number of 'portraits' and poses. A creative combination of dinosaur figures allows the depiction of various situations, fighting, eating, etc. Have fun!

Originally issued by the Palmer and Rey Type Foundry of San Francisco in 1884, this typeface bore the name Octagon Condensed, and is as fresh today as it was way back when. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.