What happens when you mix a groovy hippy font idea (like Canada Type’s Janice for instance) with a Western concept such as Playbill? You end up with a groovy hippy western font, of course!

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The roly-poly serifs, inspired by West Banjo, designed by Dave West, add such irrepressible charm to this typeface that you just want to pinch its little cheeks, if you are so inclined.

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If you've had too much coffee but not enough of Too Much Coffee Man you can now indulge in an excess of characters created by the hand of Too Much Coffee Man’s creator, Mister Shannon Wheeler.

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There has never been a publicly available digital version of Cooper Black’s original swash characters.

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This typeface was designed to be used as the page heading font for MyFonts.

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Looking like gifted jelly and falling in between cushions and cat food, this plump and inviting letter mixes simplicity with organic style for a wide range of uses. Jellybrush’s compact cursive forms and robust friendliness draw on artbrush scripts, blending brush effects with synthetic forms. A versatile workhorse suitable for:

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Please note that this font has a limited character set.

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A Slap Happy font for Wrong Doers you just haveta smack in the face!

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Cooper Black, commissioned by Barnhart Brothers & Spindler, is the best known of Oswald Cooper’s typefaces. Bitstream has expanded the 1921 original into a complete series of round-edged text faces.

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Hamburger Font BF is an endearing tribute to the lettering style of a logo, long retired, from a certain chain of fast food restaurants.

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This face was designed in 1925 as the Monotype answer to the very popular Cooper Black. Goudy is also quite similar in appearance to Ludlow Black and Pabst Extra Bold, both of which were also done in response to Cooper Black.

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Cooper Black is a very heavy version of Cooper Oldstyle (also known simply as Cooper), an innovative typeface with rounded serifs and long ascenders designed in 1919. The Cooper family was the work of Oswald Bruce Cooper, co-owner of the Bertsch & Cooper design firm in Chicago. Cooper Black was first released by the Barnhart Brothers & Spindler foundry of Chicago in 1922. Oz Cooper was fond of saying that the Black fit the needs of “far-sighted printers with near-sighted customers.” Cooper Black set a trend in ad types which prompted such designers as Fred Goudy (one of Cooper’s early teachers) to follow suit with their own black faces (compare Goudy Heavyface).

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In 1915, Frederic W. Goudy designed Goudy Old Style, his twenty-fifth typeface, and his first for American Type Founders.

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Churchward Marianna and Churchward Marianna Shadow are two more OpenType font releases by BluHead Studio, LLC from the exciting and unique library of Joseph Churchward type designs.

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Insigne Abstractions is a break from working with letterforms and a chance to play with pure abstraction.

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DB Birthday Cheer is a DoodleBat with plenty of Birthday spirit.

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DB Borders Birthday is a DoodleBat with plenty of Birthday fun.

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Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones.

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Another informal script designed in 1939 by M.K. Kaufmann for ATF.

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Here’s what happens when you use a fully-loaded Asian mink Kolinsky brush to imitate an old script letter style of the World War II era.

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SparkleBluff BH is the latest original OpenType font released by BluHead Studio, LLC.

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Asterisp is a set of gorgeous 4,5,6,7,8,9,10,12 and 13-sided asterisks in a bevy of styles. A few flashes, flowers, stars, splats and balloons are included along with outlined and 3D variations. They can be used on their own, or strung together to make fetching borders. Asterisp comes with a visual guide to take the guesswork out of choosing the symbol you need. Warning: using oversized, thirteen-sided asterisks in your layouts can be highly addictive!

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Fatty Fatty Boombalatty PW is suitable for display use for titles, as well as short paragraphs of text.

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Hand-lettered font, based on the designer’s own handwriting.

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Since many years I live in Munich and read the daily newspaper Abendzeitung. One morning they had redesigned the paper, using Eric Gill's Joanna for the body copy and a tweaked version of Franklin Gothic for the headlines.

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A great animated sanserif headline face that has the comic book look.

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Guillotine is inspired by an uncredited early 1970s film face called Rhythm Bold. While the original film type had plenty of round forms that were uneven and somewhat badly drawn to fit within the overwhelming pop wave of the time, this digital incarnation disposes of all curves, relies on a much sharper grid, and adheres to specific parameters of stroke widths and angles.

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A perfect font for comics!

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Bottleneck’s distinguishing characteristic is the extreme heaviness of the serifs in the lower third of the characters, a trait reminiscent of the platform shoes of the 1970s.

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ITC Jellybaby is the work of British designer Timothy Donaldson, bouncing all over the place but somehow remaining compact and legible. It began as an extremely fattened version of Donaldson’t typeface Pink but then became transformed into a play on the “futuristic” typefaces of the 1960s. Jellybaby expresses both retro and modern design.

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ITC Freddo is the work of New York designer James Montalbano and was inspired by a sign lettering manual from the 1930s. Montalbano liked the character shapes illustrated in this manual but found many of the proportions odd. So he reinterpreted them to produce capitals and lower case letters which, according to today’s standards, better complement one another.

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Oswald Bruce Cooper designed Cooper Black, an extra bold roman face, based on the forms of his earlier typeface Cooper Old Style, which appeared with Barnhart Brothers & Spindler Type Founders in Chicago. Copper Black was produced by Barnhart in 1922 and acquired in 1924 by the Schriftguß AG in Dresden, where it was later completed with a matching italic. Although Cooper Black appeared in the first third of the 20th century, it still looks comtemporary and it can be found on storefronts in almost any city scene. The flowing outer contours create forms that are both strong and soft, making Cooper Black an extremely flexible font.

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