WriteHand is a light-hearted, fluid, freeform script font. It is one of Anton Scholtz's contemporary designs. Based on actual handwriting, the font contrasts a strong, artistic nature with a feminine sensitivity. WriteHand successfully combines exuberant capitals with devil-may-care swashes, and toned down lower case characters to make an extremely readable handwritten font. The font is most versatile and has a number of uses, among which are contemporary invitations, greeting cards, magazine pages, adverts, cosmetic packaging and promotions, clothing swing tags and promotions, and book covers. It has been carefully letterspaced and kerned. It contains a full character set: all upper and lower case characters, punctuation, numerals and accented characters are present.

a rough and naive fraktur font

Klaster Sans is a massive geometric sans-serif typeface inspired by the first German geometric fonts. In particular, their clear, but rough forms and not perfect curves. As well as minimal optical compensators. Due to all this, the letters look weighty and powerful. Klaster Sans has 14 styles. From neat thin to extremely heavy. And it's all in italics. Or one variable font with two adjustment axes. All styles include an extended set of Latin characters and basic Cyrillic. It has support for 210 languages. Also contains stylistic alternatives, case-sensitive forms, arrows, fractions, tabular figures, circled figures and other. Features: – Total glyph set: 657 glyphs; – 14 styles (7 weights x italic) + variable; – Support 210+ languages; – Latin Extended; – Cyrillic Basic; OpenType features: – Uppercase, lowercase; – Proportional, circled, tabular numerals, superiors, inferiors, fractions; – Punctuations and symbols; – Arrows; – Stylistic sets (ss01); – Ligatures; – Case-sensitive forms.

Kandij is a Dutch word and it means ‘Rock Sugar’. We Dutch use it in a lot of products, from ‘ontbijtkoek’ (a rye based spiced cake we sometimes eat for breakfast) to Fryske Sûkerbôle, A Frisian sweet bread. Kandij is a fat and happy font. I’d probably use it for any book or product aimed at children, as it has a certain lumpy cuteness. Comes with diacritics and swashes for the upper case letters.

When Baka and Baka Too did very well commercially (Baka was named the Best Cursive Rough Script in 2005), I shied away from doing rough, handwritten scripts in fear as being seen as a one-trick-pony. A few years have passed and some early sumi-e brush ‘doodles’ kept appealing to me. I initially thought this new font would just fall under the Baka mantle and just become a new sibling, but as brush hit paper over and over again, the letters took on a different personality from Baka. This new font was turning out to be far more expressive, smooth and rough, tasty but sticky. This dichotomy demanded a new name. The rough and smooth texture suggested the name Fugu—oddly delicate while rough and functional.

The name “Parchemin” is derived from the word in old English for “parchment.” Our modern word “parchment” changed its spelling to conform with French spelling practices during the French occupation of England. The font was created to suggest an informal but antique form of handwriting written on parchment with a quill pen. The scratchiness of the old quill pen is conveyed in the roughness of the characters. The font was loosely based on the font Queen. Use this font whenever you want to suggest rough informality or antique handwriting. The characters have been letter-spaced and kerned in such a way that they join perfectly with one another giving a completely convincing imitation of genuine handwriting. The font is fully professional in terms of its character set. It contains more than 235 characters — (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). In fact, it has all the accented characters used in the major European languages.

ITC Tempus is the work of British designer Phill Grimshaw. He claims that every calligrapher's aspiration is to draw perfect roman capitals with a pen, but admits that this is extremely difficult. For this typeface, Grimshaw used a fountain pen on cheap, porous paper and, of course, the ink bled. The resulting forms are classic but their rugged edges deviate from the perfection of roman type. And Tempus Sans is just Tempus with the serif surgically removed, yet the proportions of the characters work nicely," says Grimshaw. Because of its rough quality, the typeface works best in larger point sizes, yet maintains its characters even in smaller sizes."

ITC Tempus is the work of British designer Phill Grimshaw. He claims that every calligrapher's aspiration is to draw perfect roman capitals with a pen, but admits that this is extremely difficult. For this typeface, Grimshaw used a fountain pen on cheap, porous paper and, of course, the ink bled. The resulting forms are classic but their rugged edges deviate from the perfection of roman type. And Tempus Sans is just Tempus with the serif surgically removed, yet the proportions of the characters work nicely," says Grimshaw. Because of its rough quality, the typeface works best in larger point sizes, yet maintains its characters even in smaller sizes.

Nido is a cute and funny childish typeface, designed for logos, book titles, invitations, birthday cards, flyers, posters, advertising, etc. It comprises 5 styles: black, white, black italic, white italic and dingbats, which can be used nicely together. Nido is a new design by Sofía Mohr. See also Café Brasil http://www.myfonts.com/fonts/sofia-mohr/cafe-brasil/

Blackletter at rough style, perfect to fancy jobs

Based on “Rough” lettering, by Ross F. George

A bitmap font with the roughness of handwriting.

Dumm DUM. Dumm DUM. Duh dum duh dum duh dum DUMMMM... Just when you thought it was safe to get back in the water, this font surfaces to take one last bite out of your summer vacation skinnydip! Scream and scream again — it won’t do you any good, SHARKSNACK is rough and ready to EAT YOU ALIVE! It’s too late to close the beaches, Chief Brody, this particular set of saw tooth letters has already consumed Dracula, the Werewolf, the Frankenstein Monster and any number of 70s comic book characters foolish enough to dip a toe in its maw!

A Tarte Tatin is a French upside down apple pie. The story goes that one of the Tatin sisters (who ran Hôtel Tatin in Lamotte-Beuvron 169 km south of Paris), was baking a regular apple pie, but put the apples first and, realising her mistake, tried to rescue the dish by adding the pastry and sticking it in the oven. Tarte Tatin is a really nice all caps font. It was made with a Japanese brush pen on rough paper. Tarte Tatin comes with extensive language support and a set of alternates for the lower case letters.

There are a lot of things to say about fashion. I never really cared about what people meant was fashion, at any time of my life...well, not counting my teenage years!!! I was a teenager in the 1980ies and I was really into what was hot or not...but when I look at photos of myself from that time, I always wonder what kind of fashion trends I was following! :) Brutal Fashion is really not brutal in any way, but more attractive, nice, charming, handsome, delicate and graceful - with a stunning amount of handmade roughness!

Blaue Brush is a handmade typeface painted with a Japanese brush marker on smooth paper. While the font was digitalised, special care was taken to retain its handmade character; as a result it is rough and authentic. Blaue Brush offers a complete font set in one weight that can be used in many languages, with uppercase, lowercase and a full range of decorative characters – a set of five decorative borders, arrow segments and many image characters. Blaue Brush is suited for use in packaging design for labels, tags, posters, unique occasions, music band styles and whatever else. Embrace the brush!

Kornelis de Vries, a headmaster from the Dutch province of Friesland, cultivated new potato breeds that he named after pupils in his school. In the early 1900s he came up with the tasty Bintje (a Frisian girl’s name) and it became a big success – in Belgium and France it has remained the most popular potato for french fries to this day, more than a century since its introduction. Donald Roos took 10 kilos of fresh Bintje potatoes and cut the Bint typeface by hand with a short, sharp knife. He then inked each character once and printed it twice; the second, lighter printing is accommodated in the lower case alphabet. The Bint family offers a script to make the letters bounce up and down the baseline; with OpenType functionality the font randomly chooses each character from the upper- or lowercase alphabet. ‘Tabular lining figures’ will activate a series of negative numerals in boxes; ‘Discretionary ligatures’ activates specially designed letter combinations like ‘www’ as well as arrows and stars. Bint has a distinct, slightly rough handmade appearance, making it useful for a wide range of designs.

The pattern for this delightful gem was found in Dan X. Solo's "Rustic and Rough-Hewn Alphabets" book under the name "Antique No 14." For this font, the rough-hewn lines have been cleaned up, but the underlying fun remains.

Troyline is my newest font duo. Contain two fonts, the organic script and sans. Comes with Rough and Stamp style. You can use this font for every project. Suitable for branding logo, hand lettering, or apparel design. This font duo also support multilingual, number and symbol, alternates, swash, and underline. Also this font already PUA Encoded. What will you get: Troyline Script (OTF/TTF) - Rough & Stamp Troyline Sans (OTF/TTF) - Rough & Stamp

Introducing a comic style label font named Caffeination. This font has a wide languages support with west european and cyrillic characters (check out all available characters on previews). The font family has six styles: Regular, Shadow, Shadow FX, Rough, Rough Shadow FX and Rough Shadow. Each of these fonts have same metric and kerning. This font will look good on any comic or vintage styled designs like a poster, T-shirt, label, logo, etc.

Mancave SRF is the perfect font for the ultimate party Neanderthal. Holding court in his den with a case of beer, wide screen TV and all of his sports buddies, he is safe and secure in his lair. Bold, brash and angular, this typeface was designed for Stella Roberts fonts by Jeff Levine. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

PORTASO This is a vintage display font inspired by signage, logos in the style of the wild west of the old time. This is a great find for creating logos, various kinds of designs in vintage and wild West style. Portaso font family has only Capital letters and alternates to them. Also the Stamp style has a different texture for upper and lowercase. This collection includes 14 font styles: regular, rough, two shadows for regular style and two shadows for rough style and stamp style, also vintage, vintage rough, two shadows for vintage style and two shadows for vintage rough style and stamp style,

Steamtown is a sans serif type family of three weights and four styles. It is based on geometric forms, so it is a clear and straightforward typeface. It has an industrial feel and also resembles street signage. It has four styles; Clean, Rough, Print and Press. The Rough style has rough edges, Print has a subtle texture and Press has a heavy letter-press texture. Rough, Print and Press styles have two sets of upper- and lowercases. You can manually alternate the two sets of upper- and lowercases or you can enable the Contextual Alternates OpenType feature to automatically cycle these two sets of letters.

A Rough Script Face useful for scrapbooking and labelling.

A rough childish stroked font - ideal for children's books.

LECO 1983 is a headline display OpenType typeface with its three styles: LECO 1983: regular LECO 1983 Blind: without interiors of signs LECO 1983 Negative: in its inverse form. The inspiration for creating this font came from the label on a 1983 bottle of Lečo. The characteristic feature of this font is an embedded diacritic. The monolinear character of drawings is dominant. This font is drawn as capital letter type for both: upper case and lower case letters. It contains alternatives of some signs (e, f, g, m, n, y) and (& and a glyph No) but it consists several interesting alternatives (ligatures) of pairs as (in, on, of, by) as well. This font is best used on strong posters or as a headline display typeface.

The script designed for ParaType in 2006 by Isabella Chaeva. Based on informal handwriting, its characters have rough jaggy contours. In small sizes, the face simulates an effect of handwriting by felt pen on rough paper. For use in advertising and display typography.

Ancoa is a Sans Serif Display typeface, which plays with its rough form and works perfectly on posters, designs of different uses, contains 19 fonts and includes different styles from Inline, Layer Inline, Rough and the different Weights between Regular to Fat.

Nothing ventured, nothing gained. Smokey and rough textured grunge font.

Darker Marker is just what the name suggests: I found a very big fat marker in a local stationary store, bought it, came home and went to work on this font. Darker Marker is a very clear, very easy to read marker font. It is all caps, but upper and lower case differ and can be interchanged. Darth Vader would have said: “come to the dark side” and I believe you should. Darker Marker comes preloaded with all the diacritics you need.

I came across a photo of Al Capone and some of his henchmen when searching the internet for something completely unrelated. We don’t have a history of notorious gangsters in Holland, so I was intrigued by Capone all of my life. Packing Heat is 1930’s slang for ‘carrying a gun’, which I thought befitted this handmade font with an early 20th century look. Packing Heat comes with multilingual support and a set of alternates for the lower case glyphs.

Billion Brush is a handwritten font with a rough texture, the process of creating type by stroke with strong, fast strokes on paper to create the rough texture that is characteristic of Billion Brush, so it is a font with a rough, dry brush style. Anything made with this font is sure to be wrapped in ultra-contemporary style and elegance. We made some preview pictures as a guide for designing directions, please check them all Regards and thank you very much..

Introducing Cristaloak - a rough monoline script font. This font has a rough shape in the body of the font, different from monoline fonts in general. The rough shape of this font will make the retro/vintage feel more visible. Cristaloak is perfect for vintage design, badge, logos, t-shirt, poster, branding, packaging, signage, book cover and so much more! Come with opentype feature with a lot of alternates, its help you to make great lettering. This font is also support multi language.

Introducing a vintage look label font family named "Road Rage". All available characters you can see at the screenshot. This font have 4 styles - Regular, Shadow, Rough and Rough Shadow. This font will good viewed on any retro design like poster, t-shirt, label, logo etc.

A 1928 poster for a café by German artist Karl Bauer informed the creation of this charming and expansive typeface. This font hops, bops, flip-flops and never stops, and is named after a fictitious café which offers cool jazz and fast service. Both versions contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Blame is a strong font family and sophisticated sans also serif Each font in the family can stand on its own, dynamic and authoritative in their own right. Bison includes ten all-caps fonts: a weight (clean and rough version), two outlines, four italics. - Blame Sans Clean and Rough Regular - Blame Serif Clean and Rough Regular - Blame Sans Clean and Rough Italic - Blame Serif Clean and Rough Italic - Blame Sans Outline Regular and Italic - Blame Serif Outline Regular and Italic FEATURES : a weight / Italics / Outlines / Numbers & Punctuation / Extensive Language Support USE Blame works great in any branding, logos, magazines, films. The different weights give you full range to explore a whole host of applications, while the outlined fonts give a real modern feel to any project. Thanks for having a peek at Blame. I hope you enjoy it and feel free to take it for a spin below! As always, if you have any questions just send me a message! I’m glad to help :) Haksen

Contemporary modern yet rough font family, for text as well as headlines.

A rough blocky text of uneven thickness for use in general purposes.