I could dance with you until the cows come home. On second thought I'd rather dance with the cows until you come home. Groucho Marx. Home Sweet Home Dingbats is a 30 dingbat font of home things. Use them as dingbats or enlarge the small pictures and use them as clipart. Silhouettes include several lamps, clock, chaise, chairs, sofa, nightstand, chest, TV & remote, tables, stool, steps, beds, mirror, art, a fireplace and even a baby grand piano.

Ellabette™ is a script font that was created by a wedding stationery designer after working in the industry for over a decade and getting request after request for script fonts that were formal but legible. Ellabette is warm and inviting, playful but elegant. Perfect for all things weddings, branding, editorial, social media, and websites. Designed with weddings in mind with fun special ligatures like "RSVP" "and" and "to" and works beautifully for legible address lists and envelope printing.

Bash Brush is a calligraphy script, handwritten font, with a fresh and modern look. Because of the spontaneity there are plenty of Standard Ligatures, Discretionary Ligatures and Swashes to avoid frequent repetition of letters. If you find a single repeating glyphs, you can change that by toggling between Stylistic Alternates. There are ligatures created for Cyrillic too, few ornaments and artworks with dry-brush texture. Bash Brush is the perfect choice for all natural and authentically beautiful things.

Dinghy is a shore thing. Like three fonts in one, Dinghy sports a friendly, bold lower-case, a salty, strong upper-case, and in all-caps with discretionary ligatures turned on, Dinghy is tightly interlocking. Turn some ligatures on, others off, to craft the look you want - whatever floats your boat. Dinghybats contains 26 original Amy Dietrich seaside illustrations from curious ocean animals to dune grasses to, well, dinghies.... So enjoy making waves with Dinghy family!

I wanted to mix the handmade look with both comic and grafitti, but leaving an organic laid back feeling. The result is this: Pausefisk. A font with smooth, handdrawn curves and a total of 6 different versions of each letter. Pausefisk is actually something from my childhood: when the TV-programs where finished (yes, there were no TV after midnight!) the only thing to see was a camera pointed at a fishtank...and that went on for hours!

Revelstoke is a family of five sans serif fonts designed with a vintage print look in mind. Rounded edges and imperfections were added to the characters to give that old school printing vibe. For those looking to take things one step further with some texture, we’ve added in grunge versions as well. Revelstoke is extremely versatile on its own. The font family also works great as a secondary font to go along with existing logos and branding.

Amici means 'friends' and the Amici family was conceived as a big friendly Roman typeface for headings, posters, signs and anywhere else that an approachable easy-reading typeface is needed. It's the sort of thing you used to see in Magazine mastheads before everything went boringly sans serif. Three faces are offered within the family, Regular - solid and clear, Bold - with that bit more body and presence and italic - bringing in script elements to its design.

Mores - Minimal Sans Introducing a minimalist style font. Fonts that are suitable for branding, packaging, logos and others. This font comes in regular and medium formats. Including italics in it. If you like this font, don't forget to collect it and share it with your loved ones. If there are things you want to ask or problems you face with this font. Don't hesitate to ask us. Because we are very happy to help you. Thanks Graphicfresh

Sometimes you need things organised in a neat way. Organic Tuesday has that, but also a will to break free at the same time. Years ago I was at a restaurant where the menu was handwritten with a clumsy, but characteristic and charming, monospaced font. I must have focused so much on these letters that I can’t recall what I actually ate. But what I do remember is that it was a Tuesday, and the restaurant was organic!

Iwan Stencil is a new revival of an old display typeface. Based on type originally designed by Jan Tschichold in 1929, the style was revived by Klaus Sutter in 2008. The letterforms in this peculiar design are very high contrast; all of the thin bits are much thinner than the thick parts. They have a modern, upright axis. All in all, the creation has a bit of a Bodoni-gone-crazy touch. The thin elements are the unique part of the design that binds this face together. They almost naturally fade away in the stencil gaps (or pylons), making you wonder if you are really looking at a stencil face at all. These thins contribute greatly to the typeface's overall serif-style, making the design at least a semi serif typeface, if not a full serif one. The lowercase n, for instance, has no serifs of its own, but many of the other letters have clear ones, or serif-like terminals. A serif stencil face is a peculiar variety, especially in this day and age, but in the past they were much more common, if not the norm, The Iwan Stencil typeface has only one weight. Naturally, this is just for display. Use Iwan Stencil to cut real stencils, or only to create the effect of stenciled type in your design work. Ivan Stencil includes all of the characters that you have come to expect in a font. Just because this design was originally made in 1929 does not mean that is has a 1929 character set. Instead, it includes a 21st century, with extended European language support Jan Tschichold, who we have to thank for today's Iwan Stencil inspiration, was a man of many faces. A trained calligrapher who went on to codify the New Typography, would go on to become a teacher, a classical book designer, and the creator of the Sabon typeface. Like all young designers, he was occasionally in need of money. Before his emigration from Germany in 1933, he took on many kinds of commissions. In the late 1920s, a time full of waves of economic turmoil within Germany and across the world, he began designing a typefaces for different European companies, mostly display things like this. For a time during the mid-1920s, Jan Tschichold went by the name Iwan" "

Here's Brasley, a geometric sans. Brasley is available in six weights - bold, semibold, medium, regular, light and thin - each with matching italics. It also includes contextual alternates, ligatures, fractions, arrows and shapes.

The hand-lettered title on the poster for the 1933 musical comedy film “Melody Cruise” was rendered in an Art Deco thick-and-thin style with ‘engraving lines’ placed within the letters.

Oksana Text Swash has swashed initials and ampersand for Oksana Text italics in six weights from Thin to Heavy. For all-in-one fonts please look to OpenType version of Oksana Text.

Taken from the hand-lettered name on a 1930s-era tin for Cadet condoms, Bed and Bath JNL is pure Art Deco with thin line weight and varying character widths and shapes.

Local Jeweler JNL was inspired by an online image of a vintage 1940s-era store sign. This type design features a thin Art Deco sans serif in both regular and oblique versions.

A thin caps-only cross-stitch font, based on a late 19th century embroidery pattern. It is suitable for birthday cards and posters, signs and ads in the Thanksgiving and Christmas season.

The hand lettered thin, variable width slab serif text appearing on the cover of a souvenir photo book for the 1933 Chicago World's Fair Exposition is the basis for Thinly Disguised JNL.

Labrador is a sans-serif and proportional font designed in 2013 by Chatnarong Jingsuphatada. A regular member of the Labrador font family, this is a elegant, modern, thin, rounded and clean typeface.

Sensuous is a bold sans serif font with characters that have a very high contrast between thick and thin elements. It is ideal for headlines, titles, branding and small blocks of text.

Javagos Handwritten Script Font is a cool, friendly, and trendy handwritten font. Not too thin and not too thick, balanced and varied, this was designed to enhance the beauty of your projects.

Silver Crown is an Ultra Condensend display font with minimalist characters. It's perfect for logos, name cards, magazine layouts, headers, or even large scale artwork. Silver Crown, a clean sans serif, offers you: 1. Upper and Lowercase characters (All Caps) 2. Ligatures (121 characters) and Stylistic alternates (9 Characters) 3. Multilingual Support (Latin Western Europe), Numbers and Punctuation

Darkwell is a striking signature family. It includes two fonts. Darkwell 1 is a signature font but without loop on the letters, meanwhile Darkwell 2 is a signature font with a loop to make every connection each letters more smooth Both fonts are perfect for branding projects or just to add a stylish touch to your background image.

Piepie is very heavy typeface for titlings and captions. OpenType Format (.otf) with 461 glyphs! Super mini ascenders and descenders! Ultra big x-height! Fatty weight yet Sharpy sharp detail! Bring it on Retina display! OpenType alternates for K, R and Y! Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 Almost all Adobe Latin 3 Almost all

Hello, Introducing the new hand brush fonts Roasted. Roasted is truly hand made by 100%. This fonts have a Stylistic Set. You can access the Stylistic Set with lowercase too. Still have a good readibility and strong font. What's Included Inside The Fonts ? Uppercase Lowercase Numerals Symbols European Multilingual Stylistic Set 1 Stylistic Set 2 Thank You, Regards!

Eiffel in love is a beautiful high fashion font trio, consisting of 2 sans fonts and 1 script font. With a strong modern style sans and beautiful script, this is perfect for branding, logos, printed quotes, badge, insignia, packaging, headline, poster, t-shirt/apparel, greeting card and many more. Use your inspiration and your design will be perfect!

Gumok - Ultra Condensend font and Minimalis Character, It's Perfect for logo, name card, magazin layout,headers, or oven large scale artwork What you get dear, you will get : 1. Gumok- A clean San serif font including Upper & Lowercase characters(ALL CAPS), 2. Stylistic alternates Character (9 Character) 3. Supports Multi linguage (Latin Western Europe), Numbers and Punctuation

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a “spoonful of sugar” visually. The "Sand Drift" version combines well with: PR Bramble Wood 1, PR Bramble Wood 2, PR Hallow Doodles 01, PR Hallow Doodles 02, PR Cauldron, PR Swirlies 01], PR Swirlies 05.

Elfario is a classic high-contrast serif font that exudes sophistication and elegance. Its tall, thin letterforms and dramatic thick-to-thin strokes make it perfect for luxurious branding, editorial design, and high-end fashion projects. Featured: Standard, Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw, so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Ornamented scripts are a Koziupa/Paul specialty, and Heraldica is one of their most expressive. It attains the very definition of deluxe by conjoining the classic thin-and-thick script treatment with thin-only counterpart strokes, then it goes the extra mile with a varied complement of overlaid flourishes. The usual assortment of multiple alternates and ending forms pushes it even further in class and versatility. Monograms, logos, jewelry packaging and book covers are only a few of the possibilities with such a high-end script. Crafted Koziupa and digitized by Ale Paul.

Velour is an elegant display typeface, with thin, bracketed serifs. The typeface’s main features are the curved crossbar on ‘A’ and ‘H’, the long, sophisticated legs of ‘K’ and ‘R’ including an alternative ‘k’ automatically substituted in appropriate places, providing a consistent flow of text and a romantic feel. The typeface comes with a beautiful set of both standard and old-style numerals, two different ampersands and alternates with less complicated letterforms. Velour is available in 6 weights, from Thin to Bold, and supports Western, Central and South Eastern European languages.

Mercusuar font FAMILY – an expansion on Mercusuar that includes 16 fonts, regular and italic, from Thin weight to Bold, and still has all the clean lines and trendy minimalist vibes! Mercusuar is a stunningly crisp upper and lowercase typeface that looks incredible in both large settings as a display text. Includes: Mercusuar Thin (Regular & Italic) Mercusuar Extralight (Regular & Italic) Mercusuar Light (Regular & Italic) Mercusuar Regular (Regular & Italic) Mercusuar Medium (Regular & Italic) Mercusuar Semibold (Regular & Italic) Mercusuar Bold (Regular & Italic) Numbers & punctuation Foreign language support Hope you enjoy. Intuisi Creative

Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes.

Kosumi is an experimental display typeface. Its juxtaposition of thick and thin catches that gleam in your eye, and leads you by the hand out of your comfort zone with such ease that you'll never look back. Kosumi is comfortable in any of a thousand different places, looking brilliant on posters, and reigning supreme within magazine spreads. All you need to do is let is whisk you away. The eye-catching differences between thick and thin lines serve to capitalise your attention, ensuring your nicely laid out headline is truly the star of the show!

Introducing clean, minimalistic and actually fonts family. Balanced letter height and width - based on analysis of current design trends. Text typed in this font does not distract attention from design, but organically complements any design. Ideal for short phrases, footnotes and headlines. Font has High readability in large volumes of text. Branding with this font looks trendy and expensive. Minimaly font family is versatile in use and very modern. Features: Clean letters and absolute minimalism 6 fonts in family: - Thin, Thin Italic - Regular, Italic - Bold, Bold Italic Kerning ld.luxfont@gmail.com

Nvma is based on Roman letterforms which appeared during the period from the earliest extant examples in the sixth or seventh century BC until the end of the third century BC. For Nvma the J, U and W had to be fantasies as they did not exist until much later, similar to the G, numerals and other non-alphabetic signs in the font. Thus not all of the archaic forms are represented in Nvma. Nvma was designed to work with Magma, as it matches the weights and heights for Magma Thin and Magma Titling Thin.

Movie Script is the script that was used in German movie-brochures. Those were small four page leaflets with a lot of sepia-colored pictures about the movie one was about to see. Today those things are collectors items. The script was also used on those hand-painted posters above the cinema entrance. I cleaned up the old script and made it just a little bit more readable, but overall I left it as it was. Of course I added the necessary glyphs for today's world, like Euro and so on. When I was a kid, my grandfather gave me 1 German Mark and I could go to the movies matinee, that was around 10:30 in the morning, the entrance cost something like 60 Pfennig and the rest was for peanuts and a drink. Still today I love my grandfather for that, movies introduced the world to me (no TV then). Your grandfather-loving designer Gert Wiescher

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

Italiko is a calligraphic font. The letters have been hand-drawn individually to extract the common strokes. The strokes have then been re-composed to give the font a more unified appearance. It comes in Black, Bold, Regular, and Thin. The Thin version is different as the extreme contrast in the font makes the thinner lines disappear. It is likely best used as a display font. There are ligatures for the combination of letters that can be written more quickly by using a single stroke and letters that are slightly different from the ‘Italic canon.’ You can select which one to use in your application (i.e., Word) using combinations of italic/bold: No selection -> Regular Bold -> Bold Italic -> Thin Bold Italic -> Black If you end up using the font, get in touch at https://github.com/lucabol/Italiko. Feel free to suggest improvements or let me know if you encounter problems.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.