Avangard - a new hand drawn script font in 2 styles. These fonts are ideal for branding and will decorate any of your projects. You can also use them to create a logo or use for small businesses, t-shirts, book covers, stationery, marketing, blogs, magazines, and more. Also I made alternates, ligatures and swash, with their help you can make your project more beautiful and unique. Enjoy using!

Will Carter, well known in connection with his private press in Cambridge, has combined the skills of a calligrapher with a practical knowledge of printing. His mastery of pen-drawn letterforms was put to practical use in the design of Klang. Klang is a slightly inclined and calligraphically shaped sans serif with short ascenders and descenders. The Klang font is useful for informal applications, such as invitations, greetings cards and posters, but can also be used in advertising.

Kino font was designed in 1930 by Martin Dovey for the Monotype Corporation. Heavy in weight with the letters clipped at the top and bottom, Kino is unique among display types. Display typefaces with triangular serifs are sometimes called Latins and Kino is referred to as a serifless Latin. Use Kino font sparingly in informal display situations."

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

The Ehrhardt name indicates that this typeface is derived from the roman and italic typefaces of stout Dutch character that the Ehrhardt foundry in Leipzig showed in a late-seventeenth-century specimen book. The designer is unknown, although some historians believe it was the Hungarian Nicholas Kis. Monotype recut the typeface for modern publishers in 1937 to 1938. Ehrhardt has a clean regularity and smooth finish that promote readability, as well as a slight degree of condensation, especially in the italic, that conserves space. Ehrhardt is a fine text face, especially for books.

Falstaff first appeared with Monotype in 1931, an alphabet in the style of a wide, bold antiqua that was especially popular in the first third of the 19th century. Such typefaces distinguished themselves through their consistent basis in the transitional antiqua style. They are characterized by their extremely fine unflexed serifs with no curve connecting them to the thick strokes. The numerals with their generous curves and ball-like stroke endings and beginnings are particularly decorative. The vertical strokes are dominant and give lines of this typeface a column-like and therefore static look. Falstaff is today often used for book titling, especially for mystery novels. It is best used sparingly in middle and larger point sizes.

Strayhorn is a sans serif development of the popular typeface family, Ellington. Although classified as a sans serif, the Strayhorn font family has markedly flared stems and calligraphic terminal treatment. A fairly condensed face with vigorous letter shapes, Strayhorn makes an eye-catching display face and an economical, legible text type. The contrast between thick and thin strokes is more apparent than in most sans serif designs, resulting in an open, rather striking appearance on the page. Strayhorn is ideal for use in advertising, flyers, labels and packaging. It will also make a refreshing alternative to the more monotone sans serifs used in magazines, periodicals, newsletters etc.

Castellar is a capital letter typeface from John Peters, named after a location in the Alps. It first appeared in 1957 with Monotype. Peters modelled the design on the Roman script Scriptura Quadrata as it was used in the first two centuries of the Roman Empire. One distinguishing characteristic is the quadratic proportions of many letters, which are however mixed with circular and narrow forms. The original script was called Scriptura Quadrata because the ancient engravers used rectangular stone plates for their work. Castellar is a typical title typeface and is best used in large and very large point sizes to highlight its classic elegance.

Monotype’s hot metal Bell series from 1931 was based on original types made by the punchcutter Richard Austin for the foundry of John Bell in the 1780s. The different sizes of Monotype’s series were not all based on the same model. As type historian James Mosley wrote on Typophile, “For 18 point and above (the metal type was cut in sizes up to 36 point) Monotype’s model was a larger type [than the model used for the text sizes], the ‘Great Primer’ cut by Austin. This has greater contrast in the capitals and a flat foot to letter a.” The digital Bell closely follows the design of the hot metal 18pt version, and is therefore somewhat lighter in color than the text sizes of Monotype’s original metal face. James Mosley’s Typophile article can be found here.

Compacta is the work of Fred Lambert and is reminiscent of the extremely narrow, sans serif stencilled fonts of the 1920s, then intended as titles or headlines for magazines and posters. The characters of all cuts are narrow and the space between letters is very small. The white spaces between strokes are perceived almost as only small white stripes and dots which stand out from the black bands of the lines of text. Compacta is not meant for longer texts but is impressive in titles and headlines.

Give your designs an authentic handcrafted feel. "Hashira Mt" is perfectly suited to signature, stationery, logo, typography quotes, magazine or book cover, website header, clothing, branding, packaging design and more. Files included: - uppercase letters - multilingual symbols - numerals - punctuation

Ellington was designed by jazz lover, Michael Harvey for Monotype in 1990, and named after the great band leader, Duke Ellington. From experience gained carving letters in stone and drawing them for book jacket designs, Michael Harvey has created a condensed typeface combining the clear-cut sparkle of a modern face with some of the lively features of the broad-edged pen. Ellington has a fresh elegance that is particularly effective in display, while its compressed forms will prove economical in text settings. The Ellington font family has narrow characters with strong vertical strokes and angular calligraphic traits. Ellington is a lively face and an appropriate font choice for advertising and book work. Ellington has a sans serif companion family, Strayhorn.

MT Crisiant is a new, minimalistic, elegant, and professional font. This font is suitable for making, titles, taglines, logos, and products to be printed. MT Crisiant is a sans serif typeface that is a blend of geometric and humanist. Make it more interesting and dynamic. MT Crisiant is designed for display and body text. Maximizes thickness while maintaining balance in each shape. This makes it perfect for all kinds of creative projects. The MT Crisiant comes with 18 weights and tilts to match.

A calligrapher, graphic designer and teacher, Duško Trifunović of Belgrade created this handsome calligraphic typeface called Sloboda. It has an open design, an outline of sorts, and though the lowercase is small and compact, it sets beautifully in text. The generously sized uppercase has a swash flavor to it yet works harmoniously with itself. This OpenType font has extra ligatures and the extended character set supports Central Europe.

Designed by Jochen Hasinger of Frankfurt, Germany, Covent BT is an unconventional geometric sans serif typeface, featuring rounded terminal ends and a stencil-like break of the contour in some glyphs. At first glance you might think of it as a display typeface, but the generous x-height and openness of the lowercase makes Covent BT very legible at text sizes. Central Europe and Cyrillic is supported in the extended glyph set. Each weight contains 485 glyphs and includes some alternate figures, some upper and lowercase alternates, as well as others, all accessible via OpenType features. Covent BT Symbols is a stylized geometric symbol font, intended to stand alone or used as a companion to the Covent BT typefaces. The array of glyphs covers many of the more popular icons of the day including symbols for web use, numbers, sports, travel and astrology, to name a few, each with its own unique stylized interpretation.

Roundhand was created by Matthew Carter in 1966 on the basis of handwriting by Charles Snell, an English calligrapher of XVII-XVIII known in particular by his "The Pen-man's Treasury Open'd" written in 1694. The typeface has continuous cursive shapes with oval aspect, high contrast emphasized by abrupt transitions from thin to thick and regularity of slope. Its capitals are often used as initials in combinations with other typefaces. The current digital version of the typeface has 3 styles of different weights. Roundhand is clear and easy to read and is well-suited for medium size texts and headlines. It will work well in invitations, menus, packaging, and advertising accentuating elegance and the subtle nature of the content. The Cyrillic version was developed by Vladimir Yefimov and Isabella Chaeva. Released by ParaType in 2013.

Boris Mahovac has adapted a friend’s handwriting in this new font called Kloi (pronounced Chlo – ee). It has a very casual feel and includes alternative swash glyphs of some key characters as well as some extra ligatures. Taking advantage of the ligature and contextual swash features in OpenType, the alternate glyphs automatically replace the standard glyphs when appropriate, creating a very unique look. Available in PostScript OpenType format, Kloi’s extended glyph set covers the Western and Central European, Baltic and Turkish languages.

Roelandt BT is another beautiful script font drawn by calligrapher Rob Leuschke. Perfect for informal invitations and documents, the standard semi-connecting glyphs are simple, yet elegant. An OpenType font, Roelandt also contains a set of Swash characters. Using the OT Swash feature to access these alternate glyphs, you can quickly transform your text into a stylish and more formal presentation complete with generously sized uppercase swashes. Basic and alternative glyphs in the font support Central Europe.

Nevia BT is a four weight text family loaded with subtle design nuances. These OpenType Pro fonts support many OT features including smallcaps, oldstyle figures, contextual swashes, ornaments, discretionary ligatures, fractions and much more. The extended character set supports both Western European and Central European languages.

Based on an engravers’ pattern plate, this outline form deriving from an English roundhand was fitted to linecasting matrices by Intertype about 1940.

Indoo is a modular geometric design that owes much to the typeface designs of Theo van Doesburg (1883-1931) and the De Stijl principles of abstraction, simplicity, clarity and harmony. That inspiration, combined with the lettering of signage often found in the Indian quarter of Paris, led to the connecting block letter motif of Indoo. The text fonts are joined by a common horizontal stroke positioned at the baseline. There is an accompanying Ornament font for building borders that includes various stylized fleurons and the like. Each font has a drop shadow companion that allows you to build three-dimensional and multi-colored lettering.

A personal calligraphic series commissioned by Bitstream from Gudrun Zapf von Hesse. Although Carmina BT is a neutral design, optimized for use in digital publishing, Zapf von Hesse’s unique calligraphic spirit is still quite visible in the family’s letterforms. This is not surprising, as all of Zapf von Hesse’s typefaces are calligraphic in nature. Yet Carmina BT is suitable for almost any conceivable digital text application, from book design up through signage use.

Arkeo BT is designer Brian Sooy's first typeface family published by Bitstream. Given very few design elements to work with, Brian has designed a bitmap font that is unique and very readable. There are three widths, Condensed, Regular and Extended. In our opinion, pixels never looked so good. Arkeo performs equally well on screen and as on paper. The OpenType versions include an extended character set featuring oldstyle figures, fractions and additional f-ligatures. Design was begun in late 2001 and completed in 2002. Sooy asked Bitstream to critique, which we did gladly. We also added additional characters for OpenType. This included alternate figure set, an extended set of fractions and additional f-ligatures. Sooy used preliminary versions for setting parts of the TypeCon 2002 material and website.

Futura is the fully developed prototype of the twentieth century Geometric Sanserif. The form is ancient, Greek capitals being inscribed by the Cretans twenty-five hundred years ago at the time of Pythagoras in the Gortyn Code, by the Imperial Romans, notably in the tomb of the Scipios, by classical revival architects in eighteenth century London, which formed the basis for Caslon’s first sanserif typeface in 1817. Some aspects of the Geometric sanserif survived in the flood of Gothics that followed, particularly in the work of Vincent Figgins. In 1927, stimulated by the Bauhaus experiments in geometric form and the Ludwig & Mayer typeface Erbar, Paul Renner sketched a set of Bauhaus forms; working from these, the professional letter design office at Bauer reinvented the sanserif based on strokes of even weight, perfect circles and isosceles triangles and brought the Universal Alphabet and Erbar to their definitive typographic form. Futura became the most popular sanserif of the middle years of the twentieth century. Ironically, given its generic past, Futura is the only typeface to have been granted registration under copyright as an original work of art, and, further irony, given the key part played by the Bauer letter design office, the full copyright belongs to Renner and his heirs. This decision in a Frankfurt court implies that a further small group of older typefaces may also be covered by copyright in Germany, particularly those designed for Stempel by Hermann Zapf. This situation appears to be limited to this small group of faces in this one country, although protection of designers’ rights in newer typefaces is now possible in France and Germany through legislation deriving from the 1973 Vienna Treaty for the protection of typefaces. Mergenthaler’s Spartan is a close copy of Futura; Ludlow’s Tempo is less close. Functional yet friendly, logical yet not overintellectual, German yet anti-Nazi... with hindsight the choice of Futura as Volkswagen’s ad font since the 1960s looks inevitable.

Charles Gibbons' Fleischman BT Pro revives J.M. Fleischman's quirky and elegant text faces of the 1730s. Born in Germany, Fleischman worked in Holland, primarily at Enschedé en Zonen where he cut dozens of faces. His types represent some of the earliest examples of the Transitional style, predating and influencing the work of Fournier, Baskerville, and Bodoni. They were wildly popular in their day, used for everything from newspapers to currency, and Fleischman himself has enjoyed a renaissance of late. Fleischman BT Pro preserves the feel of the printed metal types while expanding the original to include four OpenType fonts: roman, italic, bold, and bold italic. They all include small caps, old style and lining figures, discretionary and historical ligatures, ornaments, and superiors. Fleischman Pro also supports Western, Central European, and Eastern European languages.

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.

Allen Zuk has designed this wacky typeface that he calls KOOKY. Each character has three variants that bounce about the baseline. The effect is a randomly casual appearance that is great for headlines. The OpenType version does this automatically by using contextual alternates in applications that recognize this option.

Eroxion was designed by Eduardo Manso in 1997. It is a good example of degenerative typographic design, borrowing from techniques first explored in the early 1990s by the designers at Letterror.

Eduardo Manso has brought new meaning to the word distressed. The contours of Rina have been randomly inverted, spiked and split to create this agitated look. Surprisingly, Rina remains legible. And just to turn the screw a little more, Manso created an outline version, Rina Linea.

Bonislawsky pulls off a beauty in these letterforms rendered with barbed wire. In our view, it couldn't have been done better. Now you can contain the animal in you with style.

Stephen Chick, of In Your Typeface Productions (IYTP) foundry, has created this rather prickly type design. Although for display, it is surprisingly legible at smaller point sizes. There is an Inline version, and also an Inline Extra version, which has only the inner contours of the Inline itself, which can be combined with the Regular to create cool two-color effects. The extended glyph set supports Central Europe.

Created by Italian graphic designer and illustrator Lorenzo Lalatta, Orchestra brings a whimsical yet elegant spin to Latin typography. Every letterform is cleverly adapted from the shape of a musical instrument or musician. Mr. Lalatta has even disguised himself as the bullet glyph. Perfect for use as initial letters or in special invitations, these caricatures allow for delightful color embellishment as well. Don't be shy about wielding this baton!