Back in the days when we earned our living with a travelling magic show, we took the shaded font Lithotint, filled it in, modified some characters, and here is the result. In those days, to use the font we had to cut and paste stats of individual letters by hand. You have it easier!

There is nothing dangerous about this font, but indeed something dashy! That may not make much sense, and that's the same with the font - unless you want to do something eye-catching and organic looking for kids! Dashy Danger is my laid back, kinda wild, legible but unpredictable kids font - with an organic twist!

On a huge garbage bin in Lisbon I saw the sentence, “Perdidos no kaos”, which means lost in chaos and I really liked the rough stenciled lettering. Back home I designed a typeface that wasn't quite as chaotic as the lettering on the garbage container. Yours – always on the lookout for great typefaces – Gert Wiescher

American Copper Family is a vintage font inspired by an old American motorcycle logo. The logo looks very manly and strong, just like the motorbike. American Copper Script is the dominant one that turns the logo into a font. Whereas the Sans and Block family is a complement to the Script. But all three are a very good unit to be juxtaposed together. American Copper is a font made for you (designers) who love automotives: old cars and motorbikes. Anything related to automotive. Besides these two objects, this font is also very cool for music-themed design needs; rock n roll, metal, rockabilly, and others. Oh yes, Custom Culture is another very interesting thing to be depicted with this font. Workshop logo for example. It will look very unique with Interlock on American Copper Script. Pair it with American Copper Block. And, BOOM! The logo will look very manly. If you are curious, you can download the American Copper Script Demo version to try. Happy Designing. Cheers

Vintage, country, distressed or just plain worn out. The Texas general store on the side of the highway that has been there since 1954 and they're still selling old fashion bottled soda. A renovation/excavation at a downtown urban construction site reveals the old ad on exterior brick. Barn Owl provides the headline in your project with the ultimate in aged retro visualization. It is a basic minimal font set which includes only uppercase letterforms. It is a headline font best used above 36 points in size. The first of our “Trifonictype” (Tin Sign is the 2nd) there are three components to the font, Barn Owl Outline, Barn Owl Fill and Barn Owl Shadow. These can be used in different combinations for different effects, copy and paste type then indicate a different font each time. Paste in the front or back in application to see effects in combination. Fill and Shadow could be used with irregular letter spacing for various effects. Outline could be used with just Shadow for a another effect. Use your photo manipulation program to overlay and change the transparency of your headline. There are a few extended glyphs and barn(ding)bats in the lowercase letter strokes indicated in a poster sample, these are found only in the Barn Owl Outline. Download PDF manual for complete showing.

Designed over three years after the second World War, and published in 1949 by the Nebiolo foundry, Normandia was Alessandro Butti’s take on the fat face. As it usually was with Butti’s designs, this face effectively injected a catchy yet expertly calculated calligraphic spin into its source of inspiration — which was the essentially geometric/deco, thicker model of Bodoni’s very popular aesthetic. The metal Normandia saw some widespread use for a handful of years after its publication, not least because of the multitude of sizes in which it was available. It stepped out of the limelight by the mid-1950s, due to a combination of the popularity of cold type and Nebiolo’s refusal to retool its faces for new technologies. It was copied by a few small film typesetting outfits on both sides of the Atlantic, but never really found its way back to the mainstream. By the time computer type became the norm, Normandia was pretty much relegated to a type historian’s collection of anecdotes. This digital update of the classic series revives and refines the three original metal designs (Tonda/Regular, Corsiva/Italic, and Contornata/Outline) and expands the character set to more than 600 glyphs per font, including small caps, six types of figures, fractions and nut fractions, a full set of f-ligatures, some stylistic alternates, and other fine typography niceties.

Tazugane Info is a screen-ready Japanese font family, that follows on the debut of Monotype's first original Japanese typeface – Tazugane Gothic. It offers a more restrained personality, with calligraphic design details pared back to create a geometric letterform – a good alternative for designers looking for a matter-of-fact alternative to the warmer Tazugane Gothic tone of voice. Tazugane Info was updated to support the “Reiwa” new era symbol. Reiwa can be written as two kanji: 令和. This update to Tazugane Info includes Reiwa designed as a single ligature and is encoded as U+32FF. “While Tazugane Gothic fits perfectly when your job requires an organic and friendly tone of voice, Tazugane Info provides a more solid look,” says Kobayashi. “I hope that having two options will make it easier to choose an appropriate tone of voice to convey information or brand messaging.” Its strokes create a smooth uninterrupted flow that's designed for use on-screen. Although books, newspapers and magazines are traditionally set vertically in Japan, smartphones, information panels and car navigation systems are all set horizontally – and Tazugane Info has been tailored to this environment, featuring a new set of kana phonetic symbols. Tazugane Info is available in 10 weights, and includes the complete set of kanji and latin found in Tazugane Gothic.

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

Relax. Deep breath. And step away to font nirvana with Cabrito Semi. Like its Cabrito relatives, Semi’s handwriting-inspired feel is mellow and care-free. But don’t misunderstand us. Even with its fun-loving peculiarities, this free spirit will command whatever party you invite it to. It’s a perfect blend of unique and functional. So what’s the secret of this little one’s strength? It’s pure balance. Cabrito Semi’s energy surges from deep within the relaxed, balanced tones of its humanist structure and calligraphic crafting. The 36 fonts of this well-crafted semi serif originate from the popular Cabrito, an insigne design slab serif developed for the kid’s book, The Clothes Letters Wear. Along with its other amigos, Inverto and Sans, Cabrito Semi rounds out this easy-going household of fonts. The four fonts play well together on anything from meals and candy to toys and cars. With the support of the other three, Semi makes a great choice for titles and moderately long text like you would use for websites, flyers, and packaging. Semi’s complete pack of alternates is accessible in any OpenType-enabled system. This kiddo has loads of alternates, swashes, and alternate titling caps to add a bit of sweetener to the balance. Also bundled are swash alternates, old style figures, and compact caps. Preview any and all of these features in the interactive PDF brochure. This font members of the family also consists of your glyphs for 72 languages. So who says you can’t love quirky? Take a look at Cabrito Semi--and any of the other members of the Cabrito family. You’re bound to find yourself loving fun all over again.

CA Normal is a typeface aiming for beauty without ostensible effects, merely relying on clarity and well balanced proportions. True beauty is not to be found in perfect geometry, so slight irregularities and inconsequences are spread throughout the typographic image. That’s perfection through imperfection. CA Normal merges influences from European grotesques and American gothics, breeding an experimental mongrel. The underlying concept stays in the background, giving the design a great self-evidence. Although it is doubtful if there can be such thing as neutrality, CA Normal comes pretty close to what people mean when speaking of a neutral font. Nevertheless it’s not faceless, anonymous or confound able. It’s just that the charm comes from subtle details rather than obvious design features. As good text typefaces must not be too smooth nor too agitated, CA Normal is smuggling little uneven details into the typographic image, that keep the readers eye awake. The well crafted oblique follows the grotesque tradition which knows no individually drawn italics. A rather unexpected addition is the reverse oblique, a style mainly used for maps. Under the classic surface lies a modern well equipped font, featuring small caps, a Central European character set and numerals in all kinds of flavors. Numerous ligatures round up the overall impression. By default CA Normal will set numbers as proportional lining figures. But if you prefer oldstyle figures, or tabular figures, just use the OpenType functions of your layout program. These allow access to the small caps as well, which feature a complete central European character set, brackets, punctuation and lining figures in small caps height.

Divina Proportione is based from the original studies from Luca Pacioli. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. [This was education in the vernacular (i.e. the local tongue) rather than Latin and focused on the knowledge required of merchants.] He moved to Venice around 1464 where he continued his own education while working as a tutor to the three sons of a merchant. It was during this period that he wrote his first book -- a treatise on arithmetic for the three boys he was tutoring. Between 1472 and 1475, he became a Franciscan friar. In 1475, he started teaching in Perugia and wrote a comprehensive abbaco textbook in the vernacular for his students during 1477 and 1478. It is thought that he then started teaching university mathematics (rather than abbaco) and he did so in a number of Italian universities, including Perugia, holding the first chair in mathematics in two of them. He also continued to work as a private abbaco tutor of mathematics and was, in fact, instructed to stop teaching at this level in Sansepolcro in 1491. In 1494, his first book to be printed, Summa de arithmetica, geometria, proportioni et proportionalita, was published in Venice. In 1497, he accepted an invitation from Lodovico Sforza ("Il Moro") to work in Milan. There he met, collaborated with, lived with, and taught mathematics to Leonardo da Vinci. In 1499, Pacioli and Leonardo were forced to flee Milan when Louis XII of France seized the city and drove their patron out. Their paths appear to have finally separated around 1506. Pacioli died aged 70 in 1517, most likely in Sansepolcro where it is thought he had spent much of his final years. De divina proportione (written in Milan in 1496–98, published in Venice in 1509). Two versions of the original manuscript are extant, one in the Biblioteca Ambrosiana in Milan, the other in the Bibliothèque Publique et Universitaire in Geneva. The subject was mathematical and artistic proportion, especially the mathematics of the golden ratio and its application in architecture. Leonardo da Vinci drew the illustrations of the regular solids in De divina proportione while he lived with and took mathematics lessons from Pacioli. Leonardo's drawings are probably the first illustrations of skeletonic solids, an easy distinction between front and back. The work also discusses the use of perspective by painters such as Piero della Francesca, Melozzo da Forlì, and Marco Palmezzano. As a side note, the "M" logo used by the Metropolitan Museum of Art in New York City is taken from De divina proportione. “ The Ancients, having taken into consideration the rigorous construction of the human body, elaborated all their works, as especially their holy temples, according to these proportions; for they found here the two principal figures without which no project is possible: the perfection of the circle, the principle of all regular bodies, and the equilateral square. ” —De divina proportione

Pain de Mie is a soft font, friendly and sweet, kinda creamy, kinda bubbly. It's an all caps font with 2 different glyphs for each letter: easily access these through the keyboard upper or lower cases keys. Make them cycle with OpenType Contextual Alternates. There's also a handful of drawings to add an extra charm here and there. Reach these via OpenType Ornaments or pick your choices through a glyphs palette. Like a fresh loaf of bread, Pain de Mie goes well in so many ways. Give it a try!

Rollanda is a textured signature font. This is stylish signature font with a modern touch. With swift strokes and authentic dry textures, it's an irresistibly charismatic & confident font choice for a range of design projects. Rollanda is perfect for branding projects, homeware designs, product packaging, Signature, Clothing - or simply as a stylish text overlay to any background image. Ligatures are also available for several lowercase characters (double-letters which flow more naturally). These are only accessible via software with opentype capability or a glyphs panel, e.g. Photoshop/Illustrator.

Watford is a textured brush font, a contemporary approach to design, handmade with irregular base lines. Suitable for use in title designs such as clothing, invitations, booklets, stationery designs, quotes, branding, logos, greeting cards, t-shirts, packaging designs, posters and more. Watford includes a complete set of upper and lower case letters, as well as multi-language support, numbers, punctuation, binders, alternatives and additional swash. If you have questions, feel free to contact me via email: madjack.font@gmail, com Thank you very much for finding and enjoying it! Muhammad Zaki

Puzzle Face is a novelty six-tiered overlay font with a range of possibilities. With the use of your graphic application* your artwork can have special color effects. Ideal for concepts involving problems such as solutions, mysteries and of course puzzles. Ideal for a range of logos, posters, headings and bookjackets using ALL or SOME of the six layers. For Layer-info there is a pdf file in the graphics section for you to download and print. Have fun! *Each layer contains Opentype ‘Contextual Alternates’ and may only be accessible via Opentype-aware applications.

Bassidle Font is a sans serif font family that is simple but strong, defined by sharp edges with a modern touch. It is designed to exude a sense of strength and toughness as well as optimal readability. t’s a perfect choice for branding, magazines, posters, advertising, packaging, headlines, logos, web, print etc. 14 styles: 7 uprights and matching italics. 222 glyphs. Latin based languages. OpenType features, including ligatures. OTF, TTF files. Variable Font Includes. Thank you for your purchase! and please let me know if you have any questions. via email: joelpopon@gmail.com

Cartograph® CF is a handsome monospaced font family featuring lush italics, code-friendly ligatures, and a proportional set accessible via OpenType. With warmth and character, Cartograph excels in both code and prose. Also includes Powerline symbols and Greek, Cyrillic, and Japanese Katakana scripts. Cartograph® CF is designed to stand on its own, but will also pair well with contrasting typefaces, particularly text-friendly typefaces like Artifex CF, Artifex Hand CF, and Addington CF. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

Multilayer Roman font with 8 levels, inspired on ’70-80s, it wears sharp edges and compact proportions, with a way fresh contemporary retro volumetric style, ideal for branding & packaging, logotype, headlines, covers, sign letters, label, ticket design, and even 3D lettering. It contains a variety of design resources like stylistic alternates, sensitive case adaptations, old-style numbers, fractions, ordinals, ligatures, localized forms, all of them are accessible via character set panel. Design period: 2019 & 2021. Release: 2021 Graphic interpretation: Pedro González Concept: Bruno Jara Development: Peggo Fonts Foundry.

Richard Lipton originally released Sloop Script in 1994 through Font Bureau. Sloop Script Pro is the new, improved, rethought version, offering expanded language support and smart OpenType features. All of the new enhancements can be activated via human-readable stylistic sets whose names precisely describe what they do: “Entry Swashes,” “Exit Swashes,” “Smaller Caps,” and so on. Every weight of Sloop Script includes the available styles. Applying these features is straightforward and, thanks to automatic ligatures and contextual alternates, Sloop Script sets beautifully right out of the box.

Drawn by Italian graphic designer Nicola Serradimigni, Drawboard is a fun, freeform display typeface. Serradimigni based each character on a rectangle and kept the use of curved shapes and diagonals to a minimum. Serradimigni had intended to use his sketches as a basis for a more precise outline, but we liked the spontaneity of the drawings so much that we encouraged him to keep that motif. The looseness of Drawboard is the result. The character set supports Central Europe, and includes some upper and lowercase alternates accessible via OpenType features.

Gold Night Is A Natural Brush font. This is stylish brush font with a modern touch. With swift strokes and authentic dry textures, it's an irresistibly charismatic & confident font choice for a range of design projects. Gold Night is perfect for branding projects, homeware designs, product packaging, Signature, Clothing - or simply as a stylish text overlay to any background image. Ligatures are also available for several lowercase characters (double-letters which flow more naturally). These are only accessible via software with opentype capability or a glyphs panel, e.g. Photoshop/Illustrator.

Corso is a clean condensed sans serif font family. It comes in upright, slanted and italic, in six weights each. It includes useful typographic features such as fractions, ligatures and case sensitive forms. Also included are double- or single-storey versions of a and g, you can switch via stylistic OpenType sets. Other letters with alternative forms accessible the same way are ß and ampersand. Corso works especially great for larger size uses such as signage, headlines or posters. But that doesn’t mean that it isn’t also useable for short texts.

Briller is a super-wide display sans that covers 6 weights, from delicate Thin on one side to chunky Ultra on the other end. Briller tabular figures (via the OT feature) and most of figure related glyphs (such as monetary symbols) are the same width throughout the weights, leaving fun possibilities in pairing them up in contrast while retaining that sense of tabular order. Briller has a character set to support Western and Central European languages. Each weight includes ligatures, proportional lining and tabular figures, fractions and scientific superior/inferior figures.

CPL Kirkwood is a distressed condensed bold slab and sans serif typeface. With both the serif and sans serif type options, it can be used in a broad range of design works. Included is a set of Extras that give the typeface an array of symbols, lines and banners. INSTALL NOTE: If you have purchased CPL Kirkwood ALL and are installing via Font Book, it is best to install in small groups rather than opening all font files at once. Once one group is installed (SLAB + SLAB Italics) you open and install the next group.

The Geantdum Script is modern script font, every single letters have been carefully crafted to make your text looks beautiful. With modern script style this font will perfect for many different project ex: quotes, blog header, poster, wedding, branding, logo, fashion, apparel, letter, invitation, stationery, etc. The Geantdum Script including alternate glyph and beautiful swirl. How to access alternate glyphs: Windows Character Map: https://www.youtube.com/watch?v=BScPsiubM1k Adobe Illustrator: https://www.youtube.com/watch?v=y5XTaWYwWA4 Thank you for your purchase! and please let me know if you have any questions. via email: joelpopon@gmail.com

Anchoe is a bold, unique, fashionable, luxurious, modern and elegant serif with lots of ties and alternatives that will make your presentation more amazing and stand out! Anchoe supports Multi Languages and PUA has been coded. This font is versatile and perfect for any modern project including branding designs, logos, invitations, wedding decorations, website designs, Instagram, business cards, and more. Feature: Uppercase + Lowercase Numbers + Punctuation OpenType features Multilingual support If you have questions, feel free to contact me via Gmail: Cooldesignlab@gmail.com. Give us "like" and support our work. Thank you very much. Enjoy !!!

Spartwell is a handwritten script with a brush effect that comes with a style that seems real. This font style is inspired by luxury goods and brands, making for many possibilities with your latest project. Spartwell is perfect for logos and branding, photography, invitations, watermarks, advertisements, product designs, stationery, wedding designs, labels, product packaging, special events or anything that requires handwritten content. Spartwell also contains some lowercase characters that have swash, as well as multi-lingual support. This can be accessed easily via opentype in Photoshop / Illustrator. Kind regards Ergibi Studio

Caché is a stylish, condensed sans serif font family in 3 versatile weights (Light, Medium & Bold) with an extended Latin character set. The typeface features economical letterforms with distinctively sheared terminals and occasional stencil characteristics. Designed as a practical all-rounder, it really does live up to its name, providing legibility along with added panache to any heading or copy. In practice, its surprisingly adaptable to most projects; and as usual with ‘ArtyType’ fonts, there are several alternate characters available via the glyph palette, providing that extra dimension when personalising your design projects.

Dungeon is a glyphic font family that combines elements of both sans serif and spur serif typefaces. It was designed exclusively for the Red Rooster Collection in 1998 by Steve Jackaman (ITF). The family is loosely based on Dick Jensen’s famous design “Serpentine,” which was created for the Visual Graphics Corporation (VGC) in 1972. Dungeon is available in four weights, each of which is optimized for legibility at any size. The family’s masculine feel has helped it to turn up in a variety of projects, ranging from brand identity to advertising.

Zaystack is a handwriting with brush effect that comes with a style that seems real. This font style inspired by luxury goods and branded makes in many ways for your latest project. Zaystack is perfect for logos & branding, photography, invitations, watermarks, advertisements, product designs, stationery, wedding designs, labels, product packaging, special events or anything that requires handwritten content. Zaystack Also available for some lowercase characters that have swash, as well as multilingual. This can be accessed easily via opentype in Photoshop / Illustrator. if you have any questions, don’t hesitate to contact us Ergibi Studio

Amatins is an elegant Script font, every single letters has been carefully crafted to make your text look beautiful. This font will be perfect for many different projects like: photography, watermark, quotes, blog header, poster, wedding, branding, logo, fashion, apparel, letter, invitation, stationery, and more. Amatins Script includes alternate glyphs. You can access the alternate glyphs via Font Book (Mac user) or Windows Character Map (Windows user). If you have any questions regarding this font, please feel free to contact me on beary.dsgn@gmail.com and I’ll be glad to offer support.

The Gleams Sans Display is unique, this font and is equipped with multilingual to be able to handle most typographic applications ranging. will be perfect and look luxurious for many projects such as fashion, magazines, logos, branding, photography, invitations, quotes, blog headings, posters, advertisements, postcards, etc. The Gleams Sans include ligatures, capital letters and lowercase alternate letters. You need a program that supports OpenType features like Adobe Illustrator, Adobe Photoshop CC, Adobe Indesign and Corel Draw. and you can also access alternative flying machines via Font Book (Mac users) or Windows Character Map (Windows users).

Tambau is a display typeface crafted by Matheus “Fio” Gonçalves, a Brazilian design student, still in college, inspired by Brazilian concert urban posters and wood type that I saw at the Oficina Tipográfica São Paulo. The font was first made for a magazine project in design school, making it beautiful on giant pages headlines, billboards, signs, etc. There’s no lowercase, the character set is dramatic and objective. The uppercase is actually expanded letterforms causing some eyes and breathing paths to the very condensed and very modular glyphs, which creates a quite interesting striped texture between form, counterform and spacing. The lots of ligatures come to give it more closure between the letters, when they try to form blank spaces. So do the diacritics, fitting in the space given to them by the dynamic letterforms, making dense rectangular blocks. You may use Tambau as big as you can or do a high tracking to it and still it will be pretty. The titles can be dynamic, just condensed or just large. It’s on your own. Don’t be afraid to play with Tambau, it’s an alive typography. Curiosity: For the magazine in design school, the pilot project of Tambau was cut in a MDF board, to print it with texture and paint. Later was added more characters, languages and special glyphs to it. Set: Tambau is a singular font typeface, with extended and condensed characters, numbers, ligatures, punctuation and symbols for Basic, Western, Central and South Eastern Latin languages.