Introducing vintage label font named Time To Play. This font has a wide languages support with west european and cyrillic characters (check out all available characters on previews). The font family has four styles: Base, Grunge, Volume and Texture. All styles have the same metrics and kerning. This font will look good on any vintage styled designs like a poster, T-shirt, label, logo, etc.

This font is for parents and educators that want to easily be able to print out the alphabet in order to have their child or student then trace them. This eliminates the need for creating the dotted lines by hand and lets the user type out exactly what letters they need instead of relying on pre-made charts. The font is upper and lowercase letters and numbers only - no punctuation. Comes in Regular and Guides (get both for the same price as one) which draws guidelines with the letters. Best when used at a large point size.

Introducing Aspire to Inspire Font by Tlatoustype Aspire to Inspire is a cursive display Font. This font is perfect for book cover, product packaging, branding project, megazine, social media, wedding, or just used to express words above the background.This font includes TTF and OTF, This font also multilingual support.

Introducing a vintage look label font named Race To Space. All available characters you can see at the screenshot. This font have 7 styles - Regular, Shadow, Texture, Shadow FX, Texture FX, Full and Aged. This funny style font will good viewed on any retro design like poster, t-shirt, label, logo etc.

Here comes a New font, Introducing BORN TO RIDE It's Weird Display Typeface is a Natural Brush Style and Authentic classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs. It also features a wealth of special features including You can activate 22 Ligatures OpenType panel.

Home to Rome is a classy and lovely script font. It has a elegant style and is perfect for creating original designs. This lovely casual brush font is really great for a logo, clothing, quotes, headings, wedding invitations, posters, and many others.

Introducing Going to School Font by Tlatoustype Going to School is a Fun Modern Handwritten Font. Going to School is perfect for Book Cover, product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Going to School also multilingual support.

The Back to School Doodle font is a delightful and imaginative typeface that captures the essence of the back-to-school season with its playful doodles and vibrant charm. Each letter is adorned with whimsical illustrations, reminiscent of a child's doodles on a classroom desk. This font features hand-drawn characters filled with fun and colorful details. From doodled stars, pencils, and books to playful arrows, apples, and globes, every letter is an artwork in itself. The doodles add a sense of excitement and creativity to the font, making it perfect for capturing the spirit of going back to school.

This is a supercharged font, with natural brush, quick strokes and sharp details. Perfect for challenging jobs, titles, movie,logos, apparel, t-shirts, hoodies, quotes, product packaging, or anything that needs a typographic turbo-boost and a typographic unique style. Thanks for checking out this font. I hope you enjoy it!

Things To Remember is a chill and friendly display font. Its natural and unique style makes it incredibly fitting to a large pool of designs. Level up your creative project with this thin yet memorable font.

Mono To Go is a monospace typeface with a constructed, grid-based body and a playful and quirky spirit. Built from circles and other simple geometric shapes, it sees itself as a contemporary interpretation of the early, consistently reduced typefaces of modernism. With its modular concept, the typeface invites you to "build" individually combined word pictures. Depending on your preference for the type of composition, stylistic alternatives and open typeface features offer you a wide range of possibilities. The rhythm of the glyphs and their distinctive ascenders and descenders give the typeface a confident character for bold designs. The typeface works best in larger sizes, e.g. for brands, poster and cover designs, film titles, exhibition displays or generally for striking headlines. The character set contains 600 glyphs, including full language support for Western, Central and Eastern Europe, digits and oldstyle figures, punctuation, currency and mathematical symbols, and the entire set as small caps. mono to go was designed by buero bauer (2019–2021). Special thanks to Franziska Weitgruber for her support.

A typographic conundrum presented itself with the hand lettered title on the cover of the 1919 song "I Am Always Building Castles in the Air". The capitalized portion ["Castles in the Air"] was a hybrid mix of a few Art Nouveau-influenced rounded letters, yet along with this were squared letters with rounded corners (reflecting the upcoming Art Deco movement to take place in about another decade). As a complete alphabet, it didnít mix as well as in those few short words. What to do? It was decided to go with the squared look and save the rounder characters for a future project. The end result became Last Date JNL; available in both regular and oblique versions.

This futuristic typeface "Lost in space" is a geometric vintage font with multi-lingual support.

Breaking the cycle of homelessness We are partnered with The House of St. Barnabas, a private members club in Soho Square, whose work as a not for profit charity aims to break the cycle of homelessness in London. Each purchase (of the family pack) comes with a one month membership to The House and 100% of the proceeds from sales of fonts go directly to the charity to help their essential work. This unique collection of 7 typefaces is based on the disappearing signs of Soho, at risk of being lost forever due to the ever changing landscape of the area. By re-imaging the signage as complete fonts, we have rescued this rich visual history from the streets and present the typefaces into a contemporary context for a bright optimistic future. FS Berwick Thanks to its humble tiled origins, this Egyptian serif type maintains a uniform character width, creating the irregular letter proportions found in the final alphabet. Broad-shouldered, the bracketed serifs firmly ground the font, whilst its extreme hairlines become a necessity due to the uniform width. Of note is the upside down ‘S’, to be found on the original sign on Berwick Street. Perhaps due to its ceramic origins, there is a surprising ‘slippiness’ to its final appearance. FS Cattle Cattle & Son is best described as a wide, but not overly extended, grotesque-style sans serif, showing a uniform width and carrying a robust strength to its form. Whilst lightly functional overall, the purposeful diagonal legs of the ‘K’, ‘R’ and the tail of the ‘Q’ add an urgency to its appearance. The reduced size of the ampersand gives away Cattle & Son’s hand-painted origins, and the oblique compacted ‘LTD’ found on the original sign is also included in the final set. This beautiful sign is tucked away under an arch in Portland Mews, sheltering from the weather. Perhaps this is why it has lasted so long. FS Century This somewhat elongated set of Roman capitals was originally rendered in paint circa 1940, but its roots trace back to the Trajan Column in Rome. Witness the slightly unbalanced ‘W’ and the painter’s hand is revealed. Century’s flared serif style is extremely short, sharp and bracketed. The ‘M’ is splayed and has no top serifs. Century has a uniform appearance of width, probably due to its sign-written origins. Yet is elegant, classic and exudes sophistication. FS Charity A true Tuscan letterform, the original is located on The House of St. Barnabas in ceramic tiles and was revealed in all its broken glory in 2014. FS Charity retains the option of using these incorrect characters (try typing lowercase in the test drive above and compare with the more uniform uppercase characters). FS Charity features fishtailed terminals on its strokes, a curious branched ‘T’ and the ‘S’ displays tear-drop ends to its serifs. Almost uniform in width, the ‘A’, ‘M’ and ‘W’ are the widest characters in this set. FS Marlborough The elongated Marlborough features diagonal terminals to some characters and numerals. Also retained is the space-saving contracted ‘T’ glyph from the original sign, while the ‘R’ features a distinctive wedge-shaped leg. Highly individual in this form, similar signage appears around Soho, but featuring a variety of widths in their design. FS Portland The sister type to Cattle & Son, Portland is oblique rather than italic. The serifs are not overly long, yet still enhance its rather rigid cap height and baseline appearance. Its ‘A’ has a top serif, the ‘M’ is square and the ‘G’ foregoes any spur. Particularly delightful is the open ampersand. Numerals align to encourage the horizontal flavour of the oblique style. Overall, Portland is both confident and graceful. FS St James A lineal Continental style, St James also displays a true sense of ‘Londoness’ in its titling form, perhaps influenced by early Underground signage. Irregular letterforms display a continental flavour, particularly evident in its Deco style ‘W’, ampersand and numerals. The rather high cross bar in the ‘A’ is also reflected in the raised middle strokes of the ‘M’. Noteworthy are the distinctive unions found on all of the characters and the additional small caps. The original lettering is still located on Greek St.

Give your designs an authentic brush handcrafted feel. "Mist Sunshine" is perfectly suited to signature, stationery, logo, typography quotes, magazine or book cover, website header, flyer, clothing, branding, packaging design and more. Thanks for use this font. MaulanaCreative

Lost Hills JNL is a split-serif Western font based on Jeff Levine's Brogado JNL. Named for an actual location in California, this font has all the basic characteristics of a traditional Old West design.

Lasting Impression JNL was rendered from scans of a 1930s rubber stamp printing set. At small sizes it has the look of hand-stamped lettering. At larger sizes, the user will see jagged and angular lines giving the font a kind of retro-grunge look. This typeface was the model for the more cleanly-drawn Casual Friday JNL, also by Jeff Levine. There is a limited character set, and both the spacing and kerning have been intentionally omitted so that the results will more closely resemble the uneven letter spacing of rubber stamps on paper.

Confident and versatile, Lust Pro™ is an exercise in indulgence—an attempt to create something over the top and vastly useful. If Lust Pro seems both new and familiar, that’s because it is. The series unapologetically channels Herb Lubalin, but produced with a deliberate, contemporary twist. There is an intentional slyness infused in the letterforms—the extreme thick and thin lines flow effortlessly without becoming gratuitous. It’s always just enough, not too much. What makes the type series so appealing? The curves. When asked to describe the letterforms, most people unwittingly allude to the human form, using adjectives usually reserved for describing physical traits… creating all-too-familiar comparisons. Summerour has grown to accept this as unavoidable and reasonable given his acknowledgement of its influences and has provided nuances within the letterforms to accentuate that. Intended to be set large, the typeface boasts 3 widths and 5 weights and matching italics for both the Regular and Didone variants (that’s 60 fonts in total), making it perfect for editorial use and a highly flexible solution for any display need.

The hand lettered title found on the 1924 sheet music for the tango “Sentimiento Gaucho” (“Sentimental Gaucho”) offered a different take on the thick-and-thin lettering that permeated the late 1920s through the Art Deco age. A ‘slash’ or ‘swipe’ is cut through the characters (similar to “Directa JNL” – another take on this type of design). Last Tango JNL is the digital recreation of this novelty lettering and is available in both regular and oblique versions.

ITC Mona Lisa was designed by Pat Hickson, a stark and elegant typeface originally drawn in the 1930s by Albert Auspurg. The original drawings were long gone and the surviving metal type was already severely worn when Hickson studied Auspurg's design for his recreation. The result is a typeface which melds the flavor of the 1930s with current design standards. ITC Mona Lisa displays all the suave sophistication of Fred Astaire and Greta Garbo.

Konichiwa! Introducing our brand new font "The Last Shuriken" a Japanese-style typeface. Inspired by modern Japanese food branding and anime title. Designed in a bold stroke, this font is an all-caps font that has the same cap height and different shapes. The Last Shuriken is perfect for display, especially for Japanese food, title, logo, poster, short quote, movie, games, apparel. Complete with stylistic alternates and PUA Encoded with multilingual support! Thank you. Ramz.

Introducing Lost in South – Natural Brush Font is a Signature Style and classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding. Lost in South a natural handwritten feel. This handmade font will make your design has a beautiful natural touch for each details.

The new font “The Best We Could Do” was created by artist and author Thi Bui who used the font in the graphic novel by the same name. The font is brush-script handwriting font which displays human personality rendered with bold confident strokes full of passion and expression. Chank’s work on this font captured Bui’s distinctive textual style and also saved her a ton of headache and time in inking. A debut memoir that tells the story of one family’s journey from their war-torn home in Vietnam in the 1970s to their new lives in America, the autobiographical book is lauded for its heart-breaking exploration of identity, family, and home. Bui ties her modern life with the multi-generational experiences of her family, weaving together the emotional threads of their relationships to find clarity in her current day. “The Best We Could Do” graphic novel is published by Abrams ComicArts and is available wherever fine books are sold.