A classical proportioned text font - with a Celtic twist! Perfect for that oldstyle look, but still very readable. I have cleaned up the outlines, improved the spacing and kerning, modified a few letterforms - and then expanded the character set by 440%! A bolder weight has now also been created, and a rough version for a more antique look. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The Delicate is a classic bold script and this perfect for all your designs project, events, and more. It features: - UPPERCASE - lowercase - Number & Symbol - International Glyphs - Alternative Uppercase - Alternative lowercase If you need anything else please contact dedukvic@gmail.com Find more previews on my Instagram here : https://www.instagram.com/acekelgondolayu/?hl=en

Caltic-Holiday, Caltic-Festival, and Caltic-Straight are three eye-catching, very bold typefaces that are suitable for posters and signage. Caltic-Holiday and Caltic-Festival base letter shapes on trapezoids with curved sides but with curves that are reversed going from one to the other. Caltic-Straight has letters based on trapezoids with straight sides. None are suited for text and with their built-in spacing will not work as all upper-case or all lower-case. All three come in two widths, regular and wide, giving the Caltic family six members. Caltic has nothing to do with Celts. The Calt refers to the calt or contextual alternative OpenType feature that makes this typeface work. When the letters on the upper-case keys alternate with the letters on the lower-case keys, they fit snuggly together. As long as the user has a word processor that supports the contextual alternatives feature, there is no need for the user to alternate letters; the calt feature does it automatically. Although the fonts seem similar to hand-drawn lettering that was done on posters and signs during the hippie era of the 1960s and 1970s, I can find nothing quite like them. My inspiration for them is older, in a newspaper from 1932 that led to the typeface family PoultySign. Caltic (and Lentzers) are the result of seeing what else I could do with the inspiration that sprang from that 1932 newspaper.

Garamold and Garamold Italic are inspired by specimens of classic French type. At smaller sizes, the rough edges give it a very organic feel. The font contains classic ligatures and the long s for authentic vintage typography. Automatic long s substitution is accessible through the historical or titling alternates OpenType features.

I have been eager to create a pattern font, and Garamono is a set of patterns which you can simply create by typing an alphabet on keyboard. Garamono consists of 26 unique and original patterns, and 26 elements from traditional to modern. This pattern font is good for using as background, wallpaper, clothing, etc.

Hi! This is a new classic Celtic font. With spirals, knots and animals’ faces. СelticSpiral font is perfect for printing of graphic arts, posters, packaging and t-shirts. The font is presented in usual and color versions. Only uppercase letters from A to Z and numbers set (36 characters)

This is my interpretation of the writing in ancient Celtic manuscripts such as the Book of Kells.

Introducing, Lacoste Celtic, A sophisticated ligature serif from us. This typeface has been made carefully to make sure its premium quality and luxury feel. The ligatures makes this typeface unique and stands out rather than the regular serif font, very suitable for logo, headline, tittle, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : - Lowercase & Uppercase - numbers and punctuation - multilingual - ligatures - alternates - PUA encoded Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you

Hi! Celtic Nova font is available. The font is presented in regular and color versions. This is a new classic Celtic font with spirals and knots. Celtic Nova font is perfect for printing of graphic arts, posters, packaging and t-shirts. The font is given in regular and colored versions. *You can use color fonts in PS since CC 2017, AI since CC 2018, ID since CC 2019, QuarkXPress since 2018, Pixelmator, Sketch, Affinity Designer Since macOS 10.14 Mojave, Paint.NET Windows only.* *Please note that the Canva doesn't support color fonts!* You'll get: * A-Z letters * Numbers If you have any questions or issues, please contact me: kaer.pro@gmail.com Best, Roman.

RM Celtic is derived from a mix of Uncial, Carolingian, Insular and Half-Uncial characters that, together, provide a legible and useable font with a touch of that old Celtic magic. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

Happy to introduce you Medieval initials set made of twisted beast, lions, birds and spiral pattern. Ornamental type for history identity, ethnic prints, tribal posters, etc. It's not a color font! You can color glyphs yourself and use bright version. If you have any questions or issues, please contact me: kaer.pro@gmail.com Best, Roman.

Inspired from ancient Celtic lettering such like insular-half-uncial. New interpretation of Celtic letters bring a whole new feel to old letterings. At the same time, the font has handwritten-style glyphs as if they were handwritten same as the ancient letters.

While it is obvious that this is an ornamental style font, it is more than that: it is a Celtic Knotwork design tool! Irish, Scottish, Welsh, even Norse and Viking cultures have used knotwork designs for millenia. These ancient traditional interwoven designs are experiencing a revival as Celtic culture gains exposure in the modern world. Intricate Celtic knots are featured everywhere from jewelry to tattoos. While many enjoy them simply for their beauty and fascinating twists, they can also be used to add an air of myth, magic and mystery to any project. The interlaced lines make them perfect for wedding invitations, borders, dividers and rules, web graphics, and logos. I began using Celtic knotwork designs in my own work as part of my knifemaking and jewelry making hobbies. I read all of the books I could find about Celtic knots and at first I drew them by hand with pencil and paper. Then as I realized how nice it would be to have "undos" I switched over to using Corel Draw. Draw proved to be a natural for this type of artwork with tools like contour and the trim function. But even with these great tools, it was still tedious to create these designs. I noticed that I was able to reuse a lot of parts in repetitive sections. I developed a small library of reusable bits and chunks of Celtic designs. I found them so useful and fun to work with that I began thinking about ways to market my Celtic design kit. I thought about CDR and EPS formats, but then I thought of creating this toolset as a True Type Font. That way anyone with ANY program that uses fonts could easily create Celtic knotwork designs. Word processors, embroidery programs, engraving programs, jewelry design programs, CAD/CAM programs...almost every program can use fonts. I was also interested in CNC work and thought that this font would work well for applications such as laser etching, vinyl signs, and machining. With that in mind, I designed each character of the font with extremes of accuracy. If one character from the font is used at one inch tall, every control point will be placed to an accuracy of better than 0.0001 inch. I wanted every piece to meet exactly with the next, with no possibility for misalignment. The different styles are all very carefully created to fit accurately with each other. So the Filled Style fits exactly into the Outline Style, and the Inverse Style fits precisely around the Outline Style so as to make up the background behind the knotwork. Combining the styles allows you to have complete creative control. By assembling the nearly 200 pieces it is quite easy to produce very complex designs. It is actually a bit like playing with a puzzle and many people really enjoy putting the pieces together to make designs. In fact, I have had many customers tell me of how they love playing with this font and making knots into the wee hours of morning. If you like puzzles then you will absolutely love this font! And creating the patterns is just the beginning of the fun! If you apply your favorite Photoshop tricks on them you can make anything from dazzling chrome knotwork to carved stone. Photoshop plug-ins like SuperBladePro are great for converting knotwork text into corroded bronze or rusted iron. Use your knotwork to add texture to a virtual landscape, or add them as surface embelishments on architecture and furniture. You can also make round knotwork by using this font with "WordArt" (WordArt is included with every copy of Microsoft Word. See http://clanbadge.com/round_knots.htm for a tutorial on how to make round knotwork). For Crafters there are limitless uses for this font. It has been used for embroidery, jewelry, leatherwork, stencils, stained glass, quilting, painting, pyrography, woodcarving and lots more. We have even sold copies to monks for use in decorating handmade books!

Here is my next Celtic Monograms font family. I used a lot of authentic knots and curves to imitate Insular art style. The term derives from insula, the Latin term for “island” in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. I've drawn sketches set, manually vectorized it and assemble the font family. In an attempt to replicate the intricate patterns found in Celtic art, I endeavored to create a design that embodied the essence of true Celtic knot work. The interweaving lines, which were prominent motifs in Celtic art prior to the arrival of Christian influence around 450, served as the foundation for my creation. Over time, these designs seamlessly integrated into early Christian manuscripts and artwork, incorporating depictions of various elements from everyday life, including animals, plants, and even human figures. In the beginning, the patterns were intricate interwoven cords, called plaits. This particular style is often linked to the Celtic regions, but it was also widely embraced in England and spread throughout Europe through the efforts of Irish and Northumbrian monks. The utilization of the Celtic knot as a tattoo design gained popularity during the 1970s and 1980s in the United States. Consequently, it has proven to be a highly advantageous font choice for various applications such as posters, banners, and sportswear. You can also create a vintage color shift effect. Please note, you should use graphic applications such as Adobe Illustrator or Photoshop, but not Microsoft Word. All you need is put Two or Three lines style initial on the top of Back style. I’m happy to present you the Rough, Two lines, Three lines, and Back styles for your design. You’ll get uppercase and numbers set. Thank you!

Is This the End has three different ornamental endpieces ready to use in end chapters, final pages in books, magazines and several artistic representations. Each endpiece may be used in different languages like German, Bulgarian, Croatian, Danish, Spanish, Finnish, French, Dutch, Italian, Norwegian, Polish, English and Portuguese. Intellecta Design researched these endpieces from the very rare Richard Gans type catalogue from 1882.

Drawn by Tony Stan, ITC Garamond was first released in 1975 in Book and Ultra weights only. These were intended as display faces to complement existing text designs from other foundries. (In fact, many of ITC’s interpretations of traditional typefaces began as display counterparts for existing text designs.) These first weights of ITC Garamond became so popular, however, that ITC released the Light and Bold weights and a suite of condensed faces in 1977. Now, the complete ITC Garamond family features sixteen members: four weights of roman and italic in normal width and four weights of roman and italic in companion condensed versions. The family resemblance is there, but ITC Garamond’s unique provenance gives it an unmistakable, one-of-a-kind appeal.

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480-1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serifs and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. Morris F. Benton’s Garamond appeared in 1936 and is based on the forms of Jean Jannon, which already displayed characteristics of the Transitional style.

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font, Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serifs and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as “Original Garamond”, whereafter many font foundries began to cast similar types. Simoncini Garamond was designed by Francesco Simoncini to be true to the Original.

Based on custom design work by DTP Types Limited in 1992.

The Garamond family tree has many branches. There are probably more different typefaces bearing the name Garamond than the name of any other type designer. Not only did the punchcutter Claude Garamond set a standard for elegance and excellence in type founding in 16th-century Paris, but a successor, Jean Jannon, some eighty years later, cut typefaces inspired by Garamond that later came to bear Garamond’s name. Revivals of both designs have been popular and various over the course of the last 100 years. When ATF Garamond was designed in 1917, it was one of the first revivals of a truly classic typeface. Based on Jannon’s types, which had been preserved in the French Imprimerie Nationale as the “caractères de l’Université,” ATF Garamond brought distinctive elegance and liveliness to text type for books and display type for advertising. It was both the inspiration and the model for many of the later “Garamond” revivals, notably Linotype’s very popular Garamond No. 3. ATF Garamond was released ca. 1918, first in Roman and Italic, drawn by Morris Fuller Benton, the head of the American Type Founders design department. In 1922, Thomas M. Cleland designed a set of swash italics and ornaments for the typeface. The Bold and Bold Italic were released in 1920 and 1923, respectively. The new digital ATF Garamond expands upon this legacy, while bringing back some of the robustness of metal type and letterpress printing that is sometimes lost in digital adaptations. The graceful, almost lacy form of some of the letters is complemented by a solid, sturdy outline that holds up in text even at small sizes. The 18 fonts comprise three optical sizes (Subhead, Text, Micro) and three weights, including a new Medium weight that did not exist in metal. ATF Garamond also includes unusual alternates and swash characters from the original metal typeface. The character of ATF Garamond is lively, reflecting the spirit of the French Renaissance as interpreted in the 1920s. Its Roman has more verve than later old-style faces like Caslon, and its Italic is outright sprightly, yet remarkably readable.

Designed by R.H. Middleton for Ludlow, circa 1929-30. Digitally engineered by Steve Jackaman.

Archive Garamond is a typeface roughly based on the designs of Claude Garamond (ca. 1480 – 1561), a French publisher and a leading typeface designer of that period. Garamond’s influence on type design is reflected in many typefaces that are today known under different commercial names. While the majority of contemporary digital interpretations of the “Garamond types” are cleaner and more polished versions of that genre, Archive Garamond tries to keep the rough nature which was typical in the early days of printing. Archive Garamond has a rather unique, distinctive temperament which is even more emphasised with the preserved non-uniformity, such as irregular glyph shapes or a variable baseline. Although Archive Garamond was clearly made to be used for display sizes it works surprisingly well in text. Archive Garamond is availale in three versions, each containing approximately 600 glyphs (in Pro versions). Archive Garamond Pro A Professional version of the typeface contains all glyphs, including the advanced typographic forms, such as different sets of figures, small caps, swashes, historical forms, etc. The font also enables full use of the OpenType features. It fully supports the languages listed in the language list. Archive Garamond Std A Standard version of the typeface is meant to be used for the basic typographic work. It typically contains the most common glyphs. The standard figures are proportional lining. Besides kerning this version does not contain any advanced OpenType features. A Standard file type fully supports the languages listed in the Language list. Archive Garamond Exp An Expert version contains glyphs that are supposed to be used in advanced typographic works. This type of file contains uppercase and small cap glyphs with the proportional oldstyle figures as the default set. Besides kerning this version does not contain any advanced OpenType features (all OTF features have to be replaced manually). An Expert file type fully supports the languages listed in the Language list.

The Stempel foundry in Germany produced this version of Garamond in 1925 as a replica of a typeface of a French punchcutter Claude Garamond (middle of the 16th century). This design has an angular incised appearance which is unlike other Garamond types. It is also slightly heavier in weight, and is highly readable as a text face. Well suited for a wide range of applications and treatments. Original Garamond is the Bitstream version of Stempel Garamond. Cyrillic version was developed for ParaType in 2002 by Gayaneh Bagdasaryan..