Happy Times Font is a retro groovy font style with some alternative swashes in it. Use this display font to add that special retro touch to any design idea you can think of! Very suitable for logotype, Stickers, Packaging design, Cricut Project, headlines, brand identity, t shirt or apparel industry, posters, magazines, books, YouTube, Instagram, websites, or any of your creative design projects. Enjoy!

Designed by Francesco Simoncini and W. Bilz, this design follows Times New Roman in structure, but differs in some details. Unlike Times New Roman, the boldface is a weighted version of the roman.

Times New Roman alternative

The typeface Stempel Sans Print Neo is designed from 2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on a original set of 29 old rubber stamps (6 cm height). Digitized via hand-stamped, a scanner and Glyphs app. 3 font-styles (Rough, Misprint, Black) with 321 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎or #SMILE for ☻ as OpenType-Feature dlig) and stylistic alternates (6 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Stempel Sans Print Neo ■ Font Styles: 3 font styles (Rough, Misprint, Black) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Glyph Set: 321 glyphs (incl. decorative extras) ■ Lan­guage Sup­port (36 languages): Asu Bemba Bena Chiga Cornish English German Gusii Indonesian Kalenjin Kinyarwanda Luo Luyia Machame Makhuwa-Meetto Makonde Morisyen North Ndebele Nyankole Oromo Rombo Rundi Rwa Samburu Sangu Shambala Shona Soga Somali Swahili Swiss German Taita Teso Uzbek (Latin) Vunjo Zulu ■ OpenType features (16): aalt calt case ccmp dlig liga lnum onum ss01 ss02 ss03 ss04 ss05 ss06 mark mkmk ■ Design Date: 2022 ■ Type Desi­gner: Manuel Viergutz

Collect Em Now BB is the sentence-case companion typeface to the uppercase Collect Em All BB! It includes four fonts: regular, italic, bold and bold italic, double letter opentype ligatures, contextual alternate barred-I correction, manga glyphs, and more!

教科書や参考書、問題集などの教育教材作成のために開発された新ゴシック体です。 筆やペンの入り、押さえ、ハネ、トメ、筆順などを理解しやすいようデザインしています。

For nearly 90 years, Paul Renner’s Futura has been as popular as it is versatile—from children’s books to fashion magazines to the plaque on the Moon. Futura is a typographic icon. Futura Now offers designers a chance to see Futura with fresh eyes. It’s more truly Futura-like than any digital version you’ve ever worked with. “It brings some much-needed humanity back to the world of geometric sans serifs,” says Steve Matteson, Monotype’s Creative Type Director who led the design team. “Despite its reputation as the ultimate modern typeface, Futura Now is surprisingly warm,” he explains. “It’s just as at home set next to a leafy tree as it is next to a stainless-steel table, because it skillfully navigates the border between super-clean geometry and humanist warmth.” Futura Now—the definitive Futura—contains 102 styles, including: new Headline and Text weights; new Script and Display weights and styles; and new decorative variants (outlines, inlines, shadows, and fill). Its contemporary alignment of names and weights makes the family easier to understand and use, and its comfortable Text and judicious Headline subfamilies provide instantly refined spacing. With a large Latin, Greek, and Cyrillic character-set, Futura Now serves a wider international creative community. Futura Now is available both as individual OpenType fonts and as a set of Variable fonts, delivering limitless styles in a tidy digital footprint.

Carefully refined shapes and sensitively balanced spacing and kerning create the gentle rythm that grants Captura its warm-hearted face, perfect in form and shape. www.typethis.studio This version covers all the essentials of Captura 265 Characters 8 Styles, including Italics Western European Language Support Numbers Symbols Punctuation If you need more features like small caps, special symbols, Cyrillic or Vietnamese language support, you may review the expert version of CapturaNow.

Knitting & Sewing Doodles are just that. If you type all caps you get 15 knitting icons and lower case is 15 sewing doodles. Knitting items include yarn, knitting, needles, ball winder, spinning supplies, stitch counter, etc. Sewing machine, buttons, thread, pin cushion, bobbin, thimble and needles, scissors, label, tape measure, darning egg, zipper, seam ripper, and pins, all in the Outside the Line style.

The Times Europa Office family is designed after the model of the original serif family produced by Walter Tracy and the Linotype Design Studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for The Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman. Overall, text set in Times Europa is easier to read, and quicker to digest. Akira Kobayashi, Linotype’s Type Director, brought Times Europa up to speed for the new millennium in 2006. Now optimized for office communication instead of newspaper design, Times Europa Office offers a familiar yet refreshingly new appearance for serif text. Because of The Times of London’s specific printing conditions in the early 1970s, Times Europa originally had some intentional errors built into its letterform design. These inconsistencies created an even image in newspaper text in the long run. However, these design elements bear no role on modern office communication and its needs. Kobayashi redrew these problem forms, eliminating them completely. Now Times Europa’s font weights appear clearer and easier to read than ever before.

The typeface Rough Stamp Times is designed from 2016–2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on the original rubber stamps from flea market. The font started from 50+ stamps (analog) and was finally digitalize and extended to 600+ glyphs (digital). 4 font-styles (Rough, Clean, Misprint, Impact) with 601 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (9 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Rough Stamp Times ■ Font Styles: 4 (Rough, Clean, Misprint, Impact) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 601 glyphs incl. extras like icons (decorative extras like arrows, dingbats, emojis, symbols) ■ Design Date: 2016–2022 ■ Type Desi­gner: Manuel Viergutz

Bubbly, authentic teen girl handwriting. Loopy and cute but legible.

The typeface Coffee Beans Time is designed from 2018–2022 for the font foundry Typo Graphic Design by Manuel Viergutz and Annelena Grascht as a graphic design and photography project. The display font based on the original coffee beans and create a dingbat pattern. 3 font-styles (Dingbats, Mix, Coffee Ground) with 304 glyphs (Adobe Latin 2) incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (2 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Coffee Beans Time ■ Font Styles: 3 (Dingbats, Mix, Ground) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 304 glyphs (Adobe Latin 2) incl. extras like icons (decorative extras like arrows, dingbats, emojis, symbols) ■ 93 languages: Afrikaans Albanian Asu Basque Bemba Bena Breton Catalan Chiga Cornish Danish Dutch English Estonian Faroese Filipino Finnish French Friulian Galician German Gusii Indonesian Irish Italian Kabuverdianu Kalenjin Kinyarwanda Luo Luxembourgish Luyia Machame Makhuwa-Meetto Makonde Malagasy Manx Morisyen North Ndebele Norwegian Bokmål Norwegian Nynorsk Nyankole Oromo Portuguese Quechua Romansh Rombo Rundi Rwa Samburu Sango Sangu Scottish Gaelic Sena Shambala Shona Soga Somali Spanish Swahili Swedish Swiss German Taita Teso Uzbek (Latin) Volapük Vunjo Welsh Western Frisian Zulu ■ Design Date: 2018–2022 ■ Type Desi­gner: Manuel Viergutz und Annelena Grascht

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

The Modern Times is the most popular font developed by me. It was sold more than any other of font that I created. The earlier version supported Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian, Cyrillic, Greek, Georgian languages. Last year, I decided to update it. The new version is called TA Modern Times. Its OpenType features include 1200 glyph, Stylistic Alternates, Stylistic Set 01–12, Standard and Discretionary Ligatures, Numerators, Denominators, Subscript, Superscript, Ordinals, Contextual Alternates and Kerning. Currently, supported languages are as following: Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian, Cyrillic, Greek, Hebrew. Additionally, the font has multiple styles such as Semi Condensed, Condensed, Extra Condensed, Ultra Condensed, Rounded, Inline, Outline, Semi Expanded, Expanded, Extra Expanded, Ultra Expanded. 6 previous versions of the font are FREE. You may download and enjoy it. Latin Plus languages supported 95% Latin Plus diacritics included 88% TA Modern Times OpenType features list: aalt, calt, case, dlig, dnom, frac, kern, liga, locl, numr, ordn, salt, sinf, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, subs, sups TA Modern Times graphic presentation at Behance

Linotype Party Time is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The typeface is the work of Bulgarian designer Christo Velikov and is composed exclusively of capital letters. Different components make up this cheeful, frolicking font: stripes, dots, triangles, arrows, a trumpet, a ribbon, and others. The characters of Linotype Party Time stand straight on the base line while those of Linotype Party Time Drunk take on the stance typical of this state. Linotype Party Time is perfect for anything which has to do with fun and should be used exclusively in larger point sizes to emphasize the details which make the figures so unique.

The words “Benny Goodman & His Orchestra” on an appearance poster for the band from 1936 were rendered in a beautiful semi-script style of hand lettering.

Tea Time JNL was inspired by the hand lettering on the 1931 sheet music for "When I Take My Sugar to Tea".

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

Crimes Times Six is a cool horror font, originally created with a chalk stick back in 2012, by Jonathan S Harris. The typeface design works very well in video games, movies and broadcasting, but also looks great on clothing and posters.

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.

Magic Time is a classic display serif font. With medium low contrast stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Magic Time font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with script or serif. Make a stunning work with Magic Time font. Cheers, Maulana Creative