Pure romantic and personal with lots of grace and tender designed curves.

Tender and elegant hand writing font, expanded to add air to your text.

Cowboy Burt was once a cowboy, but now he's a carnie at who runs the tilt-a -whirl. This hand drawn font was designed for use in a skate-punk layout, but will be quite at home in the old west, the circus, or underground cartoons. There are two versions Regular, and Extrude which work together or apart. There are even some goofy dingbats scatter throughout. You'll have hours of fun with Cowboy Burt...Where's my waitress?

Jacuzzi Room is now open 24 hours day and we’ve got unlimited drinks and hors d'oeuvres available. Jacuzzi Room is a cheery script font inspired by the ubiquitous Beverly Hills Hotel sign, capturing the same gestural yet timeless quality. Have a stroll through vintage era Beverly Hills and take a dip into the Jacuzzi Room. Adds a ton of fun mid century chic flair to any design whether it be titling, headlines, signage, t-shirts book covers.

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!

Arkwright, named for a well known fictional shopkeeper who kept his shop open all hours is inspired by traditional British (and transatlantic) shop signage. It is a spiritual companion and ideal companion to our more elaborate Granville family. Arkwright is offered in Regular and bold weights and a more decorative 'Grand' form. These faces are especially suitable for posters, period advertising, Chapter headings and signage. Arkwright and Granville are also offered together in a value pack.

My daily challenge is how to get my kids out of bed, feed them breakfast, get them to dress, wash and pack their school bags and drop them off at school before the bell rings. The rest of the day, the challenge is to renovate our house, get my work done, pick up the kids from school (plus all of their friends, who want to come and play) and cook dinner. Of course, the word ‘challenge’ was misused by the internet. Not too long ago, there seemed to be and endless stream of crazy challenges that ended up hurting or even killing a few people. Daily Challenge font is none of the above: it is a clean cut, 100% handmade, all caps font. The only challenge here is how to adapt your design so it fits this font perfectly… ;-)

From 1958 to 1964, one of ABC-TV’s popular shows was the detective series “77 Sunset Strip”. Based in Los Angeles, the fictional detective agency was located next door to Dino’s Lodge, (partly owned by Dean Martin and actually located at 8532 Sunset). It was originally known as the Alpine Lodge. The adjacent building where Stuart Bailey and Jeff Spencer’s private detective service was located in fact housed a popular modeling agency. The ‘77’ address did not exist outside of the realm of the series. However, a wonderful sign with Art Deco-influenced lettering graced the set (on the wall of the office foyer) saying “Bailey & Spencer Private Investigators Suites 101-102”. A screen capture of this sign served as the working model for Private Eye JNL, which is available in both regular and oblique versions.

The Nostalgic Remain is a chic modern and timeless serif font that evokes a sense of nostalgia and old-world charm. Its elegant and refined letterforms are perfect for creating designs that require a touch of sophistication and tradition. This font is ideal for vintage logos, book covers, editorial designs, and any project that needs a touch of old-school glamour. With its graceful curves and delicate serifs, Nostalgic Remain is a versatile font that can be used for both digital and print projects. Its timeless appeal makes it a great choice for designers who want to create a sense of heritage and history in their designs. Whether you’re designing for a fashion brand, a restaurant, or a publishing house, Nostalgic Remain is a font that will add a touch of class and elegance to your work.

Bubble Gum is a juicy multi-dimensional gob of goodness that’s bursting at the seams with loads of alphabetic appeal. Its well-padded figure transforms the ample letterforms found in classic comic strip word balloons into a warm and casual display font with a little extra kick. Cooked up by Dave West for Photo-Lettering, Inc. between the late 1960s and early 70s, Bubble Gum was finally digitized by Jess Collins in 2011. Please note that the shaded version of the typeface is composed by layering the Regular font and a separate Drop Shadow font. Some assembly required. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world. Featured in: Best Fonts for Logos

Bertoni is a high contrast Didone family of twenty faces, which combines extreme legibility with distinctive character. It is able to hold its own in modern usage while having features rooted in a deep period charm. The family includes two widths as well as two weights. Bertoni regular, bold and wide are small capitals faces ideal for posters, book covers, packaging and signage. The text faces are body faces which form the ideal accompaniment. For more distinctive features, the Title, Capitals (all capitals, but in two forms) and Flamboyant faces are ideal. Bertoni offers a blend of the modern with classical revivalist charm which makes it up to the minute and never out of place. The family is extensive enough to form the foundation of a commercial house style, but can also lend an element of character in single usage.

A Trollkatt in Norwegian myth, is the cat associated with witches. The last few days a stray ginger cat seems to have adopted us - she comes into the house, lies down on the carpet and loves the cat food we bought her. We have posted some ‘found a cat’ messages online and hung op some flyers - just in case someone is missing a cat. Because of the stray, I decided that I should name this font something cattish, so Trollkatt is what popped up. The font is quite nice; I made it with my Chinese ink and a brush, from which I cut most of the hairs. This font won’t catch mice, but it will put some magic into your designs! And the stray cat… well, if she isn’t chipped and no one comes to fetch her, we will keep her. #happyending

Cross Stitch Diamond Monogram is a 25 stitch tall 3-letter diamond monogram. The letter representing the first name is on the left and is located under the character set. The letter representing the surname is in the center and is located under the shift + character set. The letter representing the middle name is on the right and is located under the option + character set or in the case of e, i, n, and u, under the shift + option + character set.

Northunder (Nor/Thunder) Rough is a vintage style font with a powerful presence. It can be used as an excellent display font as it possesses a unique serif style combination of slab serif and serif that create sharp points that really give the font its character. The slab serif elements help give the characters a strong look and balance across the font. The font includes uppercase, lowercase, number, international Latin letters and punctuation.

Northunder (Nor/Thunder) is a vintage style font with a powerful presence. It can be used as an excellent display font as it possesses a unique serif style combination of slab serif and serif that create sharp points that really give the font its character. The slab serif elements help give the characters a strong look and balance across the font. The font includes uppercase, lowercase, number, international (basic Latin) letters and punctuation.

Hs Alnasma is an Arabic display typeface, under “titles” category. It is useful for book titles, creative designs and modern logos. Also, it is used when a contemporary and simple look is desired that can fit with the characteristics of Latin fonts where horizontal parts are thinner than vertical ones for use in technical and engineering company. The font is based on some modern lines of Kufi calligraphy along with some derived ideas of Latin fonts, maintaining the beauty of the Arabic font and its fixed rates. This font supports Arabic, Persian, Urdu, Kurdish and Pashto and also includes Basic Latin and consisting of two weights (regular and bold) which can add to the library of Arabic and Latin fonts contemporary models that meet with the purposes of various designs for all tastes.

The curves are vintage and the serifs are big. They're so big that for years I never had the courage to tackle this intimidating font. But when fellow signmaker Frank Smith laid the groundwork for this intriguing typeface by Frank H. Atkinson, I couldn't pass on the opportunity to take it from paper to keyboard. After all, at over 100 years old, I felt this alphabet had never been given a proper, digital treatment. So how did this face survive the last century? Well, for those who don't know the history, it survived in Atkinson's ubiquitous book, Sign Painting, published first in 1908, the generational standard for anyone interested in sign-related type design. The layouts and lettering treatments in this book have influenced countless designers for more than a hundred years, but most haunting to me was this strange face with the big serifs. Well, I'm haunted no more. The work is done, the kerning is complete, and nothing but a mouse-click separates a very old idea from the modern world. It's wide, it's big, and with those crazy serifs, it is definitely eccentric-!!!

Gorodets is a symbol font based on traditional wood-painting style from the town Gorodets on Volga river, Russia. The main motifs of it are decorative flowers, birds, horses and even people, drawn in special way and painted in black, red, blue and green. The Gorodets typeface consists of 60 manually traced images divided into two parts: filled and empty ones. The typeface can be suitable in greeting cards and other printed materials to make them look decorative in a traditional Russian way.

A practical font family with 11 weights for all your needs: headlines, body text, signage etc. This font family is a working horse with high legibility at small sizes. OpenType Pro Excellent support for Niqqud. All marks are programmed to fit each glyph's shape and width. OpenType Pro includes new advanced features like Dagesh Hazak, ShevaNa, etc and wide letters. Best used with Adobe InDesign CC that support complex Hebrew text. Please check these advanced features in this link: tinyurl.com/2fbkuy95

ITC Beesknees font is the work of David Farey. He credits a number of sources as inspirations for his work, including Pushpin Studio, Peter Max, Bob Zoell and the Marx Brothers, whose typographic titles he admired as much as their cinematic humor. He was going to name the font 'Horse Feathers' or 'Monkey Business' after Marx Brothers films, then the name got shortened to 'Business', which then got transformed to 'Beesknees'. ITC Beesknees font contains a capital and small caps alphabet.

For this Byzantine Empire calligraphy font, I had to work for 2 weeks and 3-4 hours a day and search the internet. It made me very tired, but I finally finished it, and it was good. This font can use both latin keyboard and greek keyboard. I also added Greek unicode characters. I will adapt this font to the latin alphabet, I will make the full character set font, this will take less time. I wish you good work.

Athlone, a display font that inspired by the vintage/classic letterforms. Mouse-crafted with high attention to details; clean lines, sharp edges and tempting curves. Available in slanted version too, gives you more options too play with. Suits best for title/headline, logo/logotype, packaging/label designs, etc.Packed with 300+ glyphs, Athlone gives you standard upper/lower case characters, numerals, punctuations, some multilingual letters, alternate characters, stylistic sets, ligatures, etc. This font is a must have item for your designing arsenal.

Soft, funny round cartoon display font containing 500+ glyphs, Diacritics, Ligatures, Fractions in Latin, Cyrillic and Greek. Made entirely after Ekke Wolf's Greek 'rho' letter's idea in Runde Wien: — Damn, it's funnier than every [cartoon] mouse, duck and everything. — The source letter for a whole special typeface — with own funny happy mood. — As I see, it's the decent respected well-mannered sans. And this 'rho' is the source for the completely different Funny Toons display type. Just found it around this brilliant oval.

Display Uncanny is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. The same A to Z characters are located under the shift+character set and character set keys with the ones under the character set keys reduced in size. There are numbers and punctuation located under their respective keys.

Mimix is designed especially for comic fans and all typographers who like to play. It’s ideal to express spontaneity and the joy of life. Where Mimix is used, there’s life. The characters are lined in a row, a face looks out from the page. Big ears surround an oval head. A mouse moves without haste, but dynamic and modern through the lines. Mimix skillfully combines the elegance of a modern roman with the spontaneity of a casual handwriting. The mouse shows its versatile character in its broad range of use. Without exaggeration, it’s always delicate and elegant. The quiet form and good readability is a result of its moderate inclination. Well developed, Mimix includes ten weights from Ultrathin through Black. The free trial pack includes two weights with a reduced number of glyphs. If you like it you will be then be able to buy the fonts itself complete with ligatures, special characters for Eastern European languages, uppercase, lining and old style figures as well as fractions and different Opentype features. Declare war on desert lead – with Mimix, those with charm. Download a free trial version of Mimix with a reduced character set. Check it out!

Stray might be the lonesome cowboy in this big odd world, but it's his just public façade. Stray is handsome player that works well with any team or in any environment. He doesn't have a horse, but he can be the one, he can carry any weight. OK, let's talk serious now: Stray is distinctive geometric sans serif family in 9 weights and matching Italics. By it's design, Stray flirts with humanistic typefaces in some elements, while on the other side, we can see vintage letter forms as well. It is well balanced typeface, fully legible in any (reasonable) size, with power to present versatile tasks and situations. Specific joining of letter stem and bowl is one of design characteristics of Stray, so it is not just another geometric sans family, it really differs in it's own details. Contains extended Latin character map support and Cyrillic (no localizations, sorry). As any serious working horse family, it is equipped with decent OpenType features like Small Caps (for basic Latin only), Fractions, Tabular Figures, Denominator, Numerator, Ordinals and Ligatures. It also comes with small interesting set of dingbats. This Stray is not homeless, he just looks for the proper job :-)

Mighty Oaks is a collection of stylized oak leaves. There are 47 oak leaves located under the character set keys. There is a flopped version of each leaf located under the shift+character key.

Based on the popular Microbrew Family (Rising Star, May 2014), Signyard is a display family trapped in time. Inspired by vintage restaurant and hotel signs, Signyard comes decked out in incandescent bulbs for a an authentic retro feel. The family has a unique vintage cinema style, but also works well with a variety of subject matter including weddings, birthdays, breweries, coffee houses, cigar shops, and many more. Signyard is an all caps display font, but the lowercase act as alternates. For super-easy alternates, just mix uppercase and lowercase letters. To add to the realism, Signyard includes double-letter ligatures. Sporting a healthy compliment of features and languages, Signyard is a very versatile display family. Signyard features 6 styles, 4 layers, symbols and opentype features. Opentype features include automatic fractions, subscript numbers, superscript numbers, and double-letter ligatures. Also included are old style numerals, and catchwords. (in the symbols font)

The Buum typeface evolved from the explosive lettering originally designed as part of a house style for an interactive science centre for kids. Beside its usual application as a strong display font in print and on screen, the bold angular shapes of glyphs are adapted for negative machine- or laser-cutting into structural materials such as iron sheets, plywood, or stone ... and for creating tactile expressive surfaces and 3D objects. This pictogrammic and dazzling font remotely echoes the morphology of the lettering of futurism and constructivism, when avant-garde typography was once an exciting adventure. It is a lettering building kit with a number of stylistic alternatives of glyphs that enable a user to shape the same word differently each time. Buum is recommended by nine out of ten old school futurists, favored by steampunk CNC operators and respected by the majority of infantile anarchists.

Firmin Didot is credited with establishing the Modern genre of serif typefaces, of which Beaux Arts Didots stands as an exemplary model. Like the French neoclassical architecture of its namesake, Beaux Arts has all the hallmarks of the early nineteenth-century style: a clear and confident construction consisting of simple yet strong lines. Use it for elegant and formal settings, or when a direct typographic tone is desired. Mix it with styles of similar sensibilities such as Plinc Hanover and Davison Spencerian. Digitized from the original Photo-Lettering film matrix in 2014 by Jean-Baptiste Levée. BEAUX ARTS DIDOT CREDITS: Typeface Design: Photo-Lettering Staff Typeface Digitization: Jean-Baptiste Levée Typeface Production: Ben Kiel Typeface Direction: Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

While we can’t comment of the suggested definitions for ‘tuggle’ that you might encounter online, we are happy to expound on Tuggle’s quirky and endearing characters. The gravity of its bellbottom slab-serif structure is mitigated by soft rounded corners, while surging swashes and globular stroke endings further attenuate Tuggle’s otherwise would-be uptight tenor. The ideal typographic solution for children’s blocks, candy packaging, vape shop signage, and hospital way finding. Pair Tuggle with an equally juicy script like Dave West’s Superstar. Designed by the Photo-Lettering staff, and digitized by Susana Carvalho. TUGGLE CREDITS: Typeface Design: Photo-Lettering Staff Typeface Digitization: Susana Carvalho Typeface Production: Bas Smidt Typeface Direction: Erik van Blokland, Ben Kiel Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Inspired by the hand-lettered sound effects found in comic books, Dave West takes a three-dimensional deep dive into the genre with his extensive onomatopoeic alphabet originally designed for Photo-Lettering, Inc. The sonorous voice of Kerpow’s caps captures “cartoon” brilliantly, while the accompanying lowercase provides options for broader applications. Turn to Kerpow for eye-catching children’s book covers, fast casual restaurant marketing, or family fun centers, and…BAM!…all eyes will be on your design. Originally drawn in the late 1960s, Kerpow was digitized by Allen Mercer in 2011. Please note that the shaded version of the typeface is composed by layering the Regular font and a separate Drop Shadow font. Some assembly required. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Nobody Home JNL is unusual in nature as it combines two vintage typestyles into one font. Both have been used for home and property identification for decades and still remain popular. Over the years the letters and numbers have been made of cast steel, aluminum, brass and plastic. The alphabet is in a distinctly bold, asymmetrical style, while the numbers almost take on a calligraphic feel. There is just a basic character set - alphabet, numerals and simple punctuation. While the font has been reasonably spaced and kerned, it's best to remember that neither type design was made with digital technology in mind, so it's suggested to adjust your layout manually for optimum results. Nobody Home JNL is best-suited for replicating street addresses, apartment numbers on doors, and homeowner (or apartment house) names on buildings - whether in print design or as plotter-cut vinyl graphics.

We know what you're thinking... This is not a new font, just an old one with a few bullet holes in its helmet, dirt on its shins and some carbon scoring on its breastplate. You're thinking this is like a variant cover by Joe Madureira or J. Scott Campbell -- handsome and rugged on the outside but weak and effete on the inside. Well, my fine, font-finagling friend, you'd be Dead Wrong! This really is an All-New, All-Different, All Star, Ultimate Collectable, from the Comicraft House of Ideas! Our Dynamic Duo -- Johnny Comicraft and Ferran 'Nuff Said have brought you another winner from the Silver Age of comic book lettering. It’s a little worse for wear, we admit it, but wouldn't you be after three rounds with the Justice League of Avengers Assembled?!? See the families related to Battle Scarred: Battle Cry & Battle Damaged .

URW Grotesk was designed exclusively for URW by Prof. Hermann Zapf in 1985. At the same time, Zapf designed URW Antiqua to go with URW Grotesk. At that time, we were working with a large German publishing house (Axel Springer) on type design solutions to replace certain of their newspaper fonts. Test pages of large German newspapers (e.g. Bildzeitung) were printed with URW Grotesk and URW Antiqua font families. For reasons not disclosed to us, the project was dropped and Springer never used URW Grotesk and URW Antiqua for that purpose. Anyway, Zapf finished his designs and URW produced both families. Zapf’s intention for the two typefaces was to design two highly legible, open and classical fonts that could be used for any kind of typography, especially books, newspapers, magazines, etc. However, we realized later on, that URW Grotesk is very well suited for multi media applications on screen.

URW Grotesk was designed exclusively for URW by Prof. Hermann Zapf in 1985. At the same time, Zapf designed URW Antiqua to go with URW Grotesk. At that time, we were working with a large German publishing house (Axel Springer) on type design solutions to replace certain of their newspaper fonts. Test pages of large German newspapers (e.g. Bildzeitung) were printed with URW Grotesk and URW Antiqua font families. For reasons not disclosed to us, the project was dropped and Springer never used URW Grotesk and URW Antiqua for that purpose. Anyway, Zapf finished his designs and URW produced both families. Zapf's intention for the two typefaces was to design two highly legible, open and classical fonts that could be used for any kind of typography, especially books, newspapers, magazines, etc. However, we realized later on, that URW Grotesk is very well suited for multi media applications on screen.

I became interested in designing Bodoni Classic because of a lazy graphic designer at Jacques Damase publishing house. He had to change a single letter on a bookcover about J. B. BODONI. The French call him Jean Baptiste instead of Giambattista! And that unknown graphic designer just took any old “J” from some newly cut Bodoni. All the new Bodoni cuts have square serifs, whereas the originals had rounded serifs and slightly concave feet. The single letter “J” with the squared off serif was for me like a road sign to start redesigning the entire Bodoni family. That’s exactly what I started in 1993 and a dozen years later I am finished. Okay, I am still adding new Bodoni Classics, but those are my personal additions. Recently I designed a family of seven »Bodonian Script« fonts, that can be mixed with most of my Bodonis. Yours very retro, Gert Wiescher

You wrote on your school notebooks, didn't you. Of course, just about everyone did. And those that didn't are probably in therapy trying to overcome the repression and guilt. Balloon letters are fun, easy to draw and have a light-hearted presence. With little autonomy, what young person can resist the opportunity to make a public, personal statement on their notebook. Guess what! Adults do it too - with our cars, our houses, our toys, our accessories and so on. And how "grown-up" are we really? Anyway, my niece, Cori, made this nice, colorful, hand-drawn birthday card. It was so vibrant and fun - in warm circus colors - that I could not resist making it into a font. Use it for positive, fun stuff, stuff with a light touch - an invitation for an informal party perhaps, but probably not a formal dinner at the White House. This font is not comfortable in a bowtie. But don't be fooled. Casual as Cori is, you can set at least twelve major European languages with it, in addition to English: Albanian, Danish, Dutch, Finnish, French, German, Hungarian, Italian, Norwegian, Portuguese, Spanish and Swedish. Cori Valentine adds a decorative Valentine border to the upper case of Cori. By leaving out the bow in the upper center of the border we were able to fit the border around the accented caps. Similarly, we omitted the butterfly for the Ccedilla glyph. Blank versions of the regular border & the bowless border are provided at positions 135 & 137 in case you want to put a border around your signature or something like that. Just for reference, the letterforms for Cori Valentine are 75% the size as the regular Cori font. We would like to assure you that it is permissible to use Cori Valentine to create a romantic card, flyer or note during any month with less the 32 days.

Thalweg serif typeface is a project focused on the digitalization and development of the Thalweg font. The font was originally designed in 1993 by the Bulgarian artist Ivan Kyosev. In 2018 Ani Dimitrova began the revival of the Thalweg font and converted the drawings into a digital form. The existing set of characters required some necessary expansions such as the development of capital letters, alternative symbols and many other functions. Furthermore, some additional weights were developed which aimed to make the font more complete. Thalweg was completed in 2020 with 16 weights ranging from Thin to Black with extra drawn italics and small caps versions, each style containing more than 1100 glyphs. The font comes with an extended coverage of the Latin, Cyrillic and Greek Scripts. All of the weights are specifically equipped for complex, professional typography with Open Type Features. These features include: Small Caps, Ligatures, Discretionary Ligatures, Superscript, Subscript, Tabular Figures, Old-Style Figures, Circled Figures, Arrows, Matching currency symbols and fraction. The Thalweg serif typeface is a perfect choice for body text, branding design, web design, editorial design and more. Ivan Kyosev (1933-1994) was one of Bulgaria’s most famous artists whose work influenced several generations of bulgarian designers. He was born on February 5, 1933, in the city of Burgas. In 1957 he graduated in illustration at the National Academy of Art in Sofia led by Prof. Iliya Beshkov. Mr. Kyosev was a member in the management of the “Graphics and Illustration” section in the Union of Bulgarian Artists, member of the UBA board, artist in the publishing houses “September” and “World”. Together with Boris Angelushev, he worked on the layout design of the “Literary Front” newspaper. Furthermore, in 1963 - 1964 he was the main artist in the publishing house “Prosveta”. Ivan Kyosev excelled in the field of illustration, book design and library layouts in various genres (classics, children's literature, poetry, journalism, memoirs, etc.). He is also the author of many fonts.

Chevalon is a versatile serif font consisting of 7 styles. Inspired by medieval roman letter, the Chevalon is like a glorious horse that has a strong yet elegant appearance. Each Chevalon letter is carefully crafted. Chevalon fonts can help you complete various projects such as luxury brand logos, journals, business cards, headlines, products, social media posts, web and much more. If you are involved in a project that requires strong, elegant and professional writing, Chevalon font is perfect to help you get it done.