GarciaToons is a dingbats type family integrated by 3 styles: GarciaToons Bunny, GarciaToons Cat, and GarciaToons Mouse. GarciaToons can be defined as a type cartoon to read some text situations at a glance. It is a contemporary type tool for seasoning texts in a way that simple words are insufficient to express. GarciaToons is about funny and fresh real-life communication needs, the ones we facing anytime anywhere in our daily writing issues. Aim: To design an easy-to-understand and user-friendly symbol type code, able to combine with –or even to replace– words in a text. Idea: To develop a comic's faces dingbats series starting from the same pattern for the whole variants. The challenge was to represent different cartoon characters with minimal design changes. Designs are framed into a straight and geometric visual structure, just as logotypes themselves are. Face expressions are inspired on the worldwide understandable cartoons aesthetic. The result combines logo sharpness with cartoons flexibility. As it's said: A picture is worth more than a thousand words.

First released in 2009, Aviano Didone has been completely remastered and expanded with new weights and optical sizes. Aviano Didone's high contrast forms lend elegant beauty, luxury and romance to your designs and it's extended letterforms provide strength and power. Aviano's foundational classical forms give the face a look that is unique for Didone faces. Aviano Didone is a bold interpretation of vertically contrasted type. Aviano Didone comes in eight different weights and is packed with OpenType features. Want ball terminals for that logotype or headline? Flat serifs? Swash forms? Aviano Didone includes 102 alternate characters. Five style sets are available, and Art Deco inspired alternates, small forms, swash, titling and stylistic alternates. Aviano Didone also includes 40 discretionary ligatures for artistic typographic compositions. The new optical sizes allow Aviano Didone to be used on the web or in print without losing detail. Be sure to check out the rest of the Aviano series which can be used as complementary faces, including Aviano, Aviano Serif, Aviano Sans and Aviano Flare.

Canterbury is a late Medieval Gothic font with a rough edge. This blackletter face is available with four different types of Capital initial letters or combined into one Opentype Pro font with all variations plus historic ligatures, alternates and even a few ornaments.

Syntax was developed by Hans Eduard Meier in 1968 and presented by the font foundry D. Stempel AG. Its figures are based on Old Face characters but have a distinctive, modern design. The inclination to the right lends the font a dynamic feel.

Computer is an all-capitals headline font that immediately implies early mainframe computer technology. Although desktop computers and better screen and printer faces have been available for some time, the type style of the Computer font is still used for futuristic topics.

A great headline face very bold and graphic. Not recommended for small sizes!

A Rough Face Updated in 2022 to include an expanded range of typefaces

A Bold Powerful Geometric design. Great headline face; works well in many applications.

A powerful yet happy look. A great headline face with a distinct look.

Banyan utilizes dramatic brush strokes to create a paradoxically strong yet delicate face.

Gerry Powell’s revival of the condensed and elongated Fat Face, cut for ATF.

Fubrica is a whimsical and clean handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

An elegant face with dashing swash caps, based on an old American Type Founders typeface called Canterbury. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

An original design based on the Frederick Goudy design first shown in 1912. Originally a caps only design in one weight. Produced as a foundry face by Lanston Monotype 1924. Featured in: Best Fonts for Tattoos

A long-lost gem from Herbert Thannhaeuser named "Buik" provided the inspiration for this classic Deco-era face. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The Yearbook font family contains Yearbook Filler, Yearbook Outline, and Yearbook Solid. Yearbook evokes traditional Slab-Serif lettering used by high school and college teams; the first two of these faces are designed to be superimposed.

TOMO Dora is a new face designed by TOMO FONTS. Dora is a condensed style-driven sans serif typeface made by hand, adding unique and a sweet touch. A family of 4 styles + awesome icons! Enjoy!

Handwriting fonts have a great disadvantage when it comes to double letters: they look fake. With Palma come loads of ligatures for double letters to make your design look authentic (as shown on the image above).

Oscarios fonts is a stylish display font. You can use it in a modern, clean and professional design. This font is perfect for your various projects such as brand identity, technology, business cards, web, stationery, displays, sports and more. Oscarios font contains uppercase, lowercase, numbers, punctuation and multilingual support.

Alvia is a clean, modern script font that is carefully crafted with a touch of elegance. This font can be used to write letters, invitations, food products, headlines and more. It will turn any creative idea into a true work of art!

Inno font, is a modern take on the futuristic scifi theme, this typeface is clean, sharp, and have plenty of alternative, you can easily access them through uppercase lowercase. This font is great for headlines, sub titles and many attention grabber projects.

Meet Monni, a clean and balanced sans-serif typeface family—fresh-faced and cosmopolitan with a high x-height. Monni sports finely crafted angles, complemented by confident squared punctuation. This sans-serif has a universal appeal accentuated by select modern angles. Perfect for campaign work with its memorable lines, clear consistency, and optimization for screens. Noteworthy for both headline and body copy needs. Monni is sure to aid in brand retention. Monni is generously multilingual, including Ukrainian and comes in 5 weights, from light to black. With nearly 800 total glyphs, Monni’s versatility will make an excellent addition to any professional font collection.

Addison is a typeface that brings together modern western styles with a rustic texture. Between Addison West, with thick block serifs, and Circus, a more decorative face, the two would bring an authentic and unique style to any artwork. The bold faces make a stand and standout for any design concept.

Ottbelix is signature monoline font. Clean and elegant, cursive, legible script font which can be used on a wide variety of designs such as: headlines, titles, headings, logos, branding, posters, invitations, books, and any other creative design. This font is PUA encoded which means you can access all of the cute glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Fergitta is a signature monoline font. Clean and elegant, cursive, legible script font which can be used on a wide variety of designs such as headlines, titles, headings, logos, branding, posters, invitations, books, and any other creative design. This font is PUA encoded which means you can access all of the cute glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Though there are many thousands of digital typefaces available, none seem to be made exclusively of letters that tessellate, a complete tessellating alphabet. This void is now filled with not one typeface, but a group of typefaces, the Tescellations kinship group. Even though I am aware of only one use for this typeface--writing about tessellations--that does not mean there are not hundreds or perhaps thousands of other uses. These typefaces are a byproduct of two maze books I designed, Puzzling Typography and Puzzling Typography A Sequel. I found the challenge of making mazes from tessellations, including letter tessellations, intriguing and these typefaces are a byproduct that endeavor. There are seven members of this typeface kinship group. I tried to select the the glyphs that fit together best to form Tescellations; it is the most readable of the lot. The reason for an Italics version is that I needed one for the maze project. In constructing it, I tried to include as many different lower-case glyphs as I could rather than just skew the regular version. A purist might insist that the tessellation deal with the counters. My approach was to worry only about the exterior of any letter that has an interior, but for anyone who who might object to the counters, versions with filled counters are included. What did not fit into Tescellations was dumped into Tescellations Two, which is somewhat of a ransom-note type of face. It comes in two styles, a regular version and a version in which the counters are removed. TescellationPatterns shows how many of the characters in these typefaces tessellate. It has over 100 tessellation patterns, each on only one character. Simply type several lines with any character and make sure the leading is the same as the font size, and you have an instant tessellation pattern of a letter.

In the 1990s I drew a text face for the San Francisco Chronicle. It was based on W. A. Dwiggins’ Electra and incorporated many features of the Linotype Legibility Series: More compact, with a taller lowercase X-height, etc. That type was called Electric and it was the Chronicle’s text face for nearly a decade, surviving several redesigns. From that, I made Azuza, a more detailed and sensitive style. Azuza was recognized in the TDC2 type competition in 2001. Then it went into hibernation as a Type 1 font family. Today it is back. Six fonts. Open Type.

Summer Butterfly is a thin and clean handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Billa summer is a thin and clean handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Funny Holiday is a thin and clean handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Aulya Westeria is a thin and clean handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Under Weak is an amazing and bold script, suitable for a large number of designs. This font has two styles, clean and rough. With two styles, you can choose according to the project you're working on.

Billa Brush is a thin and clean handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Grotesques can answer a really wide variety of design problems and go from small sizes to large without missing a beat. Vinila is Flora de Carvalho's take on the genre. The family’s multi-purpose intention comes from having 4 widths - from compressed to extended, each with 6 weights and obliques. Rhythm and music played an important part in the design of this font, which started off as the lettering for a Brazilian Music album. Its distinctiveness comes from having powerful ink traps that go from elegant and supple in the lighter styles to commanding and impactful in the heavier styles. A distinct rhythm is achieved, making it a strong face for editorial design, branding projects and so much more. Vinila is the ideal companion to expressive display faces, where it serves a supporting role with a marked presence. We use Vinila every day in our own brand identity. We've had some of the best designers use it and test it in many different environments, printed, digital, mobile and more (they really like it!). Also in the package, Vinila Variable is an experimental version of Vinila, where you can have a virtually infinite mix of weights, widths and slant, all from a single font file. Available when you license the complete family. Vinila pairs happily with our cheerful Manteiga , elegantly with our organic didone Tenez and mechanically with our monospaced Odisseia . What other matches can you think of?

Aure Jane defines grace under fire. These clean, sans-serif forms engage the reader with a subtext of trust. Jane’s excellent legibility will stand up under almost any typographic challenge, bringing confidence to text and titles, and clarity to astrological expressions and chartwheels. Jane is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. In addition to Aure Jane’s versatility as a text font, Jane can enhance the message of other designs. Aure Jane pairs well as an innocuous foil to any decorative font; Aure Sable, for example, will shine all the more beside Jane’s sensible utility. The witty highlights of Aure Brash will sparkle against Jane’s practicality. Give Aure Jane a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

FA Mobie is a contemporary decorative fat face. For use on posters, leaflets, ads.

This is based on a mid-Victorian Connor's foundry font originally known as Manhattan. One of several old faces known in America as "French Clarendons", in Europe as "Italians", and, wait for it, in France as "American".

Zombie™ is a cute and playful whimsical font unlike a real Zombie. This monoline display face does not take itself too seriously and is at home in children's books, invitations, headlines or other decorative design projects.

Eastlake was a popular furniture style of the period when the MacKellar, Smiths & Jordan foundry brought out this font. As with many types, we find it difficult to see the connection between the name and the face.