Don’t ask me why I called this font Blabbermouth, as I really don’t know. I guess it reminded me of a person who talks too much, as Blabbermouth is kind of in your face, uneven and slightly crazy. Blabbermouth won’t keep your secrets, but I’m sure it’ll make your designs get the attention they deserve.

Algeron is a thin serif font with an ethnic feel and a modern twist, many alternates choices so that you can combine according to your style. Give your text some elegance and personality and also you can use discretionary ligatures curves add a unique style Algeron include file : - Full uppercase, lowercase, numbers, punctuation + multilingual letters.

Kittle Round is a robust display font, with a strong, pared down look based on bold geometric forms. Loaded with personality, Kittle Round features a full upper and lower case character set and an extended set of accented characters for Central European languages. It is also available as Kittle Rough, with a time-worn look.

Bestina Signature Font is a delicated signature-style script handwriting font. With delicate and graceful lines, this font adds a personal and sophisticated touch to your designs. Use Bestina Signature Font to add an exclusive and elegant touch to logos, invitations, marketing materials, and various other design projects that require a special handwritten style.

Inspired by Argentina and its culture, Alejandro Paul’s Candy Script captures the country’s spirit. It comes from the tradition of window sign painting, but its thick hand-brushed characters, with alternates for almost every upper and lowercase letter, have a personality all their own. Tons of OpenType alternates included, over 1150 characters in all.

Wiramatra is a modern Wire-Metric style font. This neat display font with unique wire cable on each character. Dainty and joyful, this font will be ideal for Sci fi Novel Tittle book, or writing techno modern wedding style invitations, cards or any other design that may need a techno futuristic romantic, personalized touch!

‘Bambino New’ font is a geometric sans serif with humanist readability. It comes in 7 different weights, 14 styles and plenty of OpenType features. It can be said it’s an arrogant cousin of Bambino font, mostly because of its legibility, personality and attitude. Each character has been carefully crafted and implemented with properly modified italics.

Looking for a font that exudes style and elegance? Look beyond the KOHIRUG Blackletter font. This font evokes a strong, confident personality with striking details on each side of the lettering. Whether you’re creating a vintage-inspired project or want to add a bold classic look to your visuals, this font is a perfect choice.

Bible Script font is the work of designer Richard Bradley. A textured edge, swash alternate characters and additional flourishes enhance this traditional, calligraphic font. Word settings look as though they were written by hand. Bible Script font is perfect for certificates, diplomas, citations, greeting cards, or anything that should have a personal, elegant touch.

Caterina, was selected personally by Francis Ford Coppola for the film he produced called The Legend of Suriyothai. It's not the credits, but text placed in the center of the screen to introduce information about the setting, the characters, and so on. Something like chapter headings in a book, or the text in silent movies.

Hetigon Playful Vintage is a bold and captivating font that seamlessly blends vintage charm with a playful twist. Its distinctive character lies in its ability to evoke a sense of nostalgia while maintaining a contemporary and dynamic feel. This versatile typeface is suitable for branding, logotypes, and flyers, where it effortlessly injects personality and style.

Angelus is a flowing script that can be seen as a more casual modern version of the copperplate script, with a fresh take on the way the ascenders and descenders interact with the totality of the setting. Angelus is ideal for use in package design, as well as on personalized collateral and book covers.

OMG it's got a smiley face underscoring the exclamation point! What a sweet, charming handwriting font from the wrist of an 18-year-old Norwegian girl. A sassy skip and a flowery flair lift this particular marker font up a notch above the rest. Now available in OpenType format for your Personal or Commercial Use.

Ulysses was created by English designer Timothy Donaldson in 1991, an impulsive, dynamic alphabet in handwritten style. The sketchy strokes, the clear slant to the right and the light stroke contrast lend the font its flow and energy. Ulysses suggests randomness and individuality and is therefore perfect for invitations, greeting cards and other personal correspondence.

This fun sans-hand typeface gives your designs and layouts a personal touch that leaves a smile. FUNFAIR has two weights each with italics. FunFair has tall letters and tight kerning to give a natural hand written style. It’s great for posters, cards and headings but also versatile enough for many kinds of typographic layouts.

Bervina is an elegant and delicate serif font. It looks beautiful on a variety of designs requiring a personalized style, such as wedding invitations, thank you cards, weddings, greeting cards, logos and so on. Bring your projects to the highest levels! Features: Multilingual Ligatures Alternates PUA encoded Files Included: Bervina Regular ttf Bervina Italic ttf

Drakoheart Revofit is an initiative to make sans fonts. It’s one of my personal favorites, in fact. In its first release, this font had a cool appearance but was improved with better kerning and a cool look in this new release. Perfect to write some digital texts as in web articles, blogs and branding.

Chellinda Bold Script is a stylish and refined Script font. It looks beautiful on a variety of designs requiring a personalized style, such as wedding invitations, thank you cards, weddings, greeting cards, logos and so much more. This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

The talented designer of the well-known Formata typeface, Bernd Möllenstädt was born on February 22, 1943 in Germany. He has lived in Westfalia, Berlin and Munich, Germany, and now permanently resides in Munich. From his earliest years he was interested in typography, first studying as a typesetter (1961-64) and then a student of graphic design (1964-1967). In 1967 Möllenstädt joined the Berthold typefoundry and his career as one of the leading type personalities began. One year after joining Berthold, he became the head of the type design department. For 22 years he worked as the head of that department, under the leadership of Günter Gerhard Lange. Upon Lange’s retirement in 1990, Möllenstädt ascended to the type directorship of Berthold where he was responsible for type design and font mastering. Möllenstädt designed two typeface for the Berthold Exklusiv Collection, Formata (1988) and Signata (1994). Under license from Berthold, Adobe marketed Formata as part of the Adobe Type Library. Formata is now one of the most successful sans serifs in the world, used both in American and European magazines, as well as newsletters in the Far East (Gulf New Kuwait). Formata also was chosen as the corporate typeface of Postbank, Allianz, VW Skoda, Infratest Burke, etc. In addition to his work for Berthold, Möllenstädt has lectured at local Munich schools on typography and graphic design, and designed corporate type identities and diverse logos for major corporations, including Allianz, Commerzbank, Mauser Officer and Hoepfner. Möllenstädt continues his association with Berthold as a designer. He most recently completed small caps and fractions for Formata. He also has substantially contributed to Berthold's Euro symbol program (e.g. adding the Euro symbol design-specific to the most popular families). Möllenstädt currently is working on a new Berthold Exklusiv design.

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.

Y’all ready for this? Now starting for Insigne: the new serif Mirantz. This rookie all-star plays a precise game every game, cutting at all the right angles to leave your reader impressed and ready to see more. You can always count on Mirantz to lead with solid mechanics and a clean style, but don’t be surprised when the face keeps it real with a little individual flare and creativity. This personal touch is nothing short of elegance in every appearance. So what makes us love this rookie above the other great players in the field? Contrast, for one. Mirantz brings more contrast to the game than most serifs out there. The serifs on this face have a crisp, sharp wedge that naturally draws the reader’s eye. You can’t help but fall in love with its clean, natural style. Mirantz also features a tall x-height and regular proportions that can play a number of positions on the page and still stay strong through the last half of the copy or even the final period. Mirantz is a solid powerhouse player, containing a complete set of small capitals and nine weights from thin to bold. It can play well both down low and up top with its subscripts and superscripts and can move your reader’s eye easily across the copy with its titling capitals, condensed and extended variants, and open style figures. With its options covering more than 72 Latin-based languages, look for this newcomer to have international success in the near future. It you haven’t set your draft picks for this next round of projects, think hard before passing up Mirantz. A capable serif like this one is a guaranteed asset to any team of fonts. Production assistance from Lucas Azevedo.

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.

Introducing Gnuolane—the bold and compact display typeface that speaks volumes with its unique personality. Drawing inspiration from early twentieth-century grotesques and the no-nonsense characteristics of the 1960s, Gnuolane packs a punch with its distinctive and eye-catching design. The power of Gnuolane lies in its ability to convey your message with style and flair. With five weights and italics to choose from, you can choose the perfect combination to suit your needs. Whether you’re creating bold headlines or impactful titles, Gnuolane has the versatility to make a statement in any design. For added impact, check out Gnuolane Jump and Gnuolane Stencil. These variations take the unique personality of Gnuolane to the next level, with even more opportunities to create attention-grabbing designs. Don’t settle for ordinary typography. Choose Gnuolane and let your designs stand out from the crowd. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Gill Sans is a humanistic sans serif family that, while is considered by many to be quintessentially British in tone and concept, has been used in virtually every country and in nearly every application imaginable. Gill Sans has reached this level of near-ubiquity for one simple—and very good—reason: it is an exceptionally distinctive design with a potential range of use that is almost limitless. This toolkit family includes a wide range of styles including the standards such as Light—which is open and elegant—and a Regular that, with its flat-bottomed d, flat-topped p and q and triangular-topped t, has a more compact and muscular appearance. Its Bold styles tend to echo the softer, more open style of the light while the extra bold and ultra bold have their own vivid personalities, but each of them would make for an eye-catching headline. Take into account the family’s many weights, including condensed and extra condensed designs, and extended language support and you have yourself a tool you’ll be thrilled to return to, time and again. Gill Sans was designed by Eric Gill: a versatile, brilliant, and prolifically successful designer of the early part of the last century. One of the main reasons for the enduring success of his namesake design is that it is based on Roman character shapes and proportions, making it unlike virtually any other sans serif out there. Gill also worked his own warmth and humanity into his design, resulting in a typeface in which each weight retains a distinct personality of its own. Pair with serif fonts like Gill's own Joanna; or more modern offerings like Frutiger® Serif, Malabar™, Syntax® Serif, FF Scala®, or DIN Next™ Slab.

I fell in love at the age of twelve in Wales, recalls Bernard Philpot. "My father brought me to a small graveyard in the Welsh hills to show me two headstones carved by the great Eric Gill. I instantly fell in love with the beauty of the carving and the perfection of the letterforms. I still go back to marvel at these works of art." However, the ITC Bolthole™ design, Philpot's first commercial typographic endeavor, is quite unlike the works of Eric Gill that first captured his heart. Bolthole is a craggy sans serif with a definite grumpy attitude. It's not terribly legible, and, if more than a few words are set in the design, it's not very readable. To round out its cranky personality, Bolthole does not like to be set in small sizes. Like Cheez Whiz® and bullfights, you either love or hate this typeface. But whichever emotion dominates, there is no denying that Bolthole has a personality to be reckoned with - one with ample magnetism to ensure reader attraction. If used to set brief blocks of display copy, the typeface makes a powerful statement. Bolthole was originally designed to complement a whimsical ad for the Royal Society for the Prevention of Cruelty to Animals. As Philpot recalls, "although the ad didn't win any awards, the type attracted some very positive comments for its original look and feel." Philpot studied graphic design and typography at the London School of Printing, and soon after graduation found himself working in a large advertising agency in London. According to Philpot, "After designing type for everything from packaging to ads, I thought it time to convert one of my designs into a complete font - and Bolthole was born." ITC Bolthole could very well be the Shrek™ of typeface design - which might not be such a bad thing."

Although geometric Sans Serifs have been in vogue for nearly a century, they have never been as ubiquitous. It is not improbable that the old adage would be phrased: “When in doubt, set it in geometric sans”, had it been composed today. Have we not had enough? We think, not. Postmodern times demand a variety of expressions. The vision behind Geometria was to revisit the perennial favorite to lend subtle individuality to its tried and true forms. Geometria stands out in the crowd of similar fonts thanks to its complicated nature. It combines dynamic elements with a certain degree of stability. A slightly higher waistline of the capitals contributes to their distinctive appearance. If the upper case refers to the American grotesques of the 19th century, the lower case tends toward the forms of the Renaissance in its proportions. Geometria is a typeface of clean shapes that is well-suited for continuous reading, and it sets remarkably well. At the same time, it can be friendly, even flirtatious. Its distinct personality combines seeming opposites. At times it may appear serious, at times playful. On occasion, it may be deliberate, other times dynamic. It could seem rigid, then elegant. It is a typeface that could be perceived either as cutting-edge, or as nostalgic. A careful and discerning typographer will bring out and emphasize those aspects of its multifaceted personality that are needed to solve the problem at hand. Geometria consists of 24 fonts — eight weights with matching italics and narrow styles. The font includes multiple sets of figures and currency signs, alternate glyphs, a variety of experimental ligatures, and punctuation marks for the two cases. The 835 glyphs support 72 languages. Granshan 2013 award.

Victorian Alphabets is a incoming family of complete victorian style alphabets, researched and developed upon a comprehensive number of vintage books, magazines and catalogues from XIX century. The "Victorian Alphabets W" font has just W' designs, performing 52 different W's to your use. Here at MyFonts you can get more TWENTY fonts of this family, wih a very and atractive array of alphabets and letters to complete your artwork

Normative Lt is a sans serif type family by Green Type, a low cost version of Normative Pro, includes only a Unicode Latin 1252 character set. Normative Lt is a font with wide sphere of application, legible from very small size to very large ones. Can be used both in technical documentation, office work, business communication, as well as in advertising, visual communication, magazines and posters, in branding and packaging.

What do you get if you mix a proper serif typeface with cartoony fun? JollyGood Proper Serif! A whimsical font legible enough to work in longer texts, it’s perfect for childrens’ books and magazines.. It is a complete complete family with 6 weights in regular and italic (12 fonts in total). It has an amazing character set, with support for most european languages, as well as alternates and ligatures.

GoodDog New is a font designed by Ethan Dunham that attempts to revive and refine the ubiquitous font family GoodDog. GoodDog was originally designed in 1996 and has enjoyed enormous popularity. The font desperately needed updating, so a completely new version was born. GoodDog New is a "do-over" of sorts. It is completely redrawn and cleaned up, with an attempt to maintain the look that made the original so popular.

The inspiration for this exuberant exercise in penmanship was found in Frank H. Atkinson's A Show at Sho-Cards: Comprehensive, Complete, Concise, published in 1918, executed with the then-state-of-the-art Payzant Reservoir Pen. It retains its quaint charm, even after almost a century. Both versions of this font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Angel Script is a light, contemporary monoline script. There are approximately 695 individual glyphs complete with Stylistic and Contextual Alternates, Titling Alternates, Swashes and even Old Style Numerals. Needless to say, there’s a lot ‘under the hood’, and the typographic flexibility I wanted with earlier concepts shows in grand style with this release. The single weight font includes a complete Central European and Western diacritic set as well.

LAM LAGANG 051 Is a sans serif contemporary with Mid-Century, Modern & Aesthetics style. Sans serif style combined with swash, some letters with shades of Blackletter complete with Ligatures and Alternative Letters to complete all your design explorations. It is suitable for use in any design style such as classic, retro, vintage and also perfect for modern or minimalist design styles. Features: Multilingual Alternates Ligatures Opentype Thank You

Linotype Facsimile is part of the Take Type Library, which features the winners of Linotype’s International Digital Type Design Contest. Designed by J. Luigs and S. Wicker, the forms were constructed for electronic readers, just as the OCR fonts were. The increasing use of computers accompanied the growing number of fonts suitable for electronic reading. The standard has long been set, but designers are always creating new interpretations and new symbols. Typefaces like Facsimile are here to stay and personify the Zeitgeist of the late 20th century.

Camp is a rough-hewn, woodsy font that gives new meaning to logging on to your computer. With engraving-like, hand-rendered details, it harkens back to frontier days and simpler times. Whether gliding across a placid lake or trekking through untarnished nature, Camp will let you see the forest among the trees. A family of 5 fonts gives you the option of printing a single color outline w/drop shadow or up to four different colors using the shadow, fill, ends and outline variants.

This font is for architects everywhere. This all cap font was created for use with CAD programs. It gives the handlettered look of old to computer generated blueprints. Architectural Lettering Bold is the heavier weight for Architectural Lettering. This additional weight makes a best selling font even more versatile. It has all the international currency symbols. Architectural Lettering Regular was redesigned in 2006 to include the same. It can be found in the book “Indie Fonts 3, a Compendium of Digital Type from Independent Foundries”.

As recently as forty years ago, computers consisted of racks of vacuum tubes, each rack about the size of a refrigerator, with enough racks to fill a good-sized family room required to do routine data processing. This font is based on a monospaced typeface used on a lineprinter from that time, the Unisys 0776. Although its origins are strictly retro, the face retains a timeless techno edge, even today. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Puchiflit is a typeface disguised as a pen script. I didn't create this typeface by importing the letters on paper and tracing them into a computer with a draw application. So I think it's a pseudo-pen script typeface. By the way, I used a famous Japanese maker's felt-tip pen as a reference for line widths. I thought, "Isn't this what it would look like if I wrote with this pen? I drew a line in the draw application while fantasizing about this.

The "Architect's Font" for Everyone! Having taught Mechanical Drawing - BC (before computers), I have always wanted to digitize my every day lettering as I have previously done with my calligraphic lettering. Based on my own daily lettering style, which in turn is modeled after the hand lettering of draftsmen and architects, Fran Hand comes with Regular and Italic versions each for the same low price. Use "Fran Hand" for writing letters, fax cover sheets, invoices, spec drawings, or for enjoying a change from the prosaic and commonplace.