The font is actually not a revival of ‘Avant Garde’—by Herb Lubalin—but it takes its spirit. Fibra is a geometric sans serif, yet without the typical structural strictness of these kind of fonts, that represents experimental type design. This can be seen in the contrast between curves and straight lines in some characters such as ’n’ and ‘h’ unlike rounded ones such as ‘a’ and ‘d’; details of some display characters (e.g. three upper terminals in ‘W’ and projection off the stem in ‘A’); and exaggerated terminal in ‘R’. All these features give Fibra a strong personality—a sans serif typeface that ‘gives you the chills’. Fibra was specially designed for display use. The font has a very generous x-height that allows for use in corporate text, thanks to its good readability. Fibra comes with 2 subfamilies—a more ’normal’ Basic family, with a smaller amount of stylistic features, for use in subheadings or any other type of text that requires formality, and an Alt family that shows off the true potential of the font, making it the perfect choice for magazine headlines, posters and logotypes.

After the popular successes of Exocet and Mason, Emigre has once again teamed up with Jonathan Barnbrook to bring you his latest venture into type land. Priori is a logical progression from Mason, a typeface he designed around ten years ago. Where Mason was designed purely for display purposes and featured only caps, Priori includes lower case, companion serif and sans serif versions, alternates and, according to its creator, is shooting for text face status - a bold claim from a designer who loves to wear his influences on his sleeve and who has little use for typography that aspires to be "neutral" or "transparent." Like many of Barnbrook's typeface designs, Priori is based on his interest in British typography of the early 20th century. It is inspired by the work of famous British typographers, such as Eric Gill and Edward Johnston. But it also embraces all of the signage and lettering that Barnbrook observes in the streets, cathedrals, and public buildings of his London neighborhood. This mixing of native influences with a contemporary pop culture intent is what gives Barnbrook's types a distinct and unique flavor. Like its creator, Priori is a one of a kind.

I loved the look of this font so much that I couldn't resist reworking it - although it probably had the most basic character set I've ever used as a starting point. But here it is in its complete, professional, multilingual state. I hope this wonderful swashbuckling font now finds many new users and uses. Celebrate! 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.

Layal is an Arabetic type design with a calligraphic flavor. It follows the guidelines of the Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in Unicode Standards version 5.1, and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Layal employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying Tatweel before Alif Lam Lam Ha will display the Allah ligature. Layal family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to standard English keyboard punctuations and major currency symbols. Layal is available in normal, bold, black, light, and extra light, each both in regular and italic styles.

Kamane is a new font family, designed by Naghi Naghashian. It is based on classic calligraphic “Naskh” with the modern typographic metric. It is a Font family, in 3 weights, Light, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Kamane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Kamane design fulfils the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Kamane was developed for multiple languages and writing conventions. Kamane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Graziella Script is a calligraphy script font that comes with exquisite character changes, a kind of classic decorative copper script with a modern twist, designed with high detail for an elegant style. Graziella Script Manuscript is attractive because it is smooth, clean, feminine, sensual, glamorous, simple and very readable, because of its many fancy letter joints. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . . . . . Graziella Script has 436+ Glyph alternative characters, including multiple language support. With OpenType features with alternative styles and elegant binding. The OpenType feature works automatically, but you can access it manually and for the best results necessary for your creativity in combining these variations of the Glyph. I really hope you enjoy it! I can't wait to see what you do with the Graziella Script! Feel free to use the #Black Studio tag and the #Graziella Script font to show what you've been up to.

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. TessieBugs contains shapes that resemble insects such as moths, ants, butterflies, and weevils. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

Johann Michael Fleischmann was born June 15th, 1707 in Wöhrd near Nuremberg. After attending Latinschool he started an apprenticeship as punchcutter in the crafts enterprise of Konstantin Hartwig in Nuremberg, which ought to last six years. For his extraordinary talent Fleischmann completed his apprenticeship after four and a half years, which was very unusual. 1727 his years of travel (very common in these days) began, during which he perfected his handcraft by working in different enterprises as journeyman. First location was Frankfurt/Main where he worked for nearly a year at the renowned type foundery of Luther and Egenolff. Passing Mainz he continued to Holland, where he arrived in November 1728 and stayed till he died in 1768. In Amsterdam he worked for several type founderies, among others some weeks for Izaak van der Putte; in The Hague for Hermanus Uytwerf. Between 1729 and 1732 he created several exquisite alphabets for Uytwerf, which were published under his own name (after his move to Holland Fleischmann abandoned the second n in his name), apparently following the stream of the time. After the two years with Uytwerf, Fleischmann returned to Amsterdam, where he established his own buiseness as punchcutter; following an advice of the bookkeeper and printer from Basel Rudolf Wetstein he opened his own type foundery 1732, which he sold in 1735 to Wetstein for financial reasons. In the following Fleischmann created several types and matrices exclusively for Wetstein. In 1743 after the type foundery was sold by Wetstein’s son Hendrik Floris to the upcoming enterprise of Izaak and Johannes Enschedé, Fleischmann worked as independent punchcutter mostly for this house in Haarlem. Recognizing his exceptional skills soon Fleischmann was consigned to cutting the difficult small-sized font types. The corresponding titling alphabets were mostly done by Jaques-Francois Rosart, who also cut the main part of the ornaments and borders used in the font examples of Enschedé. Fleischmann created for Enschedé numerous fonts. The font example published 1768 by Enschedé contains 3 titling alphabets, 16 antiquacuts, 14 italic cuts, 13 textura- and 2 scriptcuts, 2 greek typesets (upper cases and ligatures), 1 arabic, 1 malayan and 7 armenian font systems, 5 sets of musicnotes and the poliphonian musicnotesystem by Fleischmann. In total he brought into being about 100 alphabets - the fruits of fourty years of creative work as a punchcutter. Fleischmann died May 27th, 1768 at the age of 61. For a long time he was thought one of the leading punchcutters in Europe. A tragedy, that his creating fell into the turning of baroque to classicism. The following generations could not take much pleasure in his imaginative fonts, which were more connected to the sensuous baroque than to the bare rationalism of the upcoming industrialisation. Unfortunately therefore his masterpieces did not survive the 19th century and person and work of Fleischmann sank into oblivion. The impressive re-interpretation of the Fleischmann Antiqua and the corresponding italics by Erhard Kaiser from Leipzig, which were done for the Dutch Type Library from 1993 to 1997, snatched Fleischmann away from being forgotten by history. Therefore we want to place strong emphasis on this beautiful font. Fleischman Gotisch The other fonts by Fleischmann are only known to a small circle of connoisseurs and enthusiasts. So far they are not available in adequat quality for modern systems. Same applies the "Fleischman Gotisch", which has been made available cross platform to modern typeset-systems as CFF Open Type font through the presented sample. The Fleischman Gotisch has been proved to be one of the fonts, on which Fleischmann spent a good deal of his best effort; this font simply was near to his heart. Between 1744 and 1762 he created 13 different sizes of this font. All follow the same principles of forms, but their richness of details has been adapted to the particular sizes. In later times the font was modified more or less sensitive by various type founderies; letters were added, changed to current taste or replaced by others; so that nowadays a unique and binding mastercopy of this font is missing. Likewise the name of the font underwent several changes. Fleischmann himself probably never named his font, as he did with none of his fonts. By Enschedé this textura was named Nederduits, later on Nederduitsch. When the font was offered by the german type foundery Flinsch in Frankfurt/Main, the more convenient name of Fleischmann-Gotisch was chosen. In his "Masterbook of the font" and his "Abstract about the Et-character" Jan Tschichold refered to it as "Duyts" again. To honour the genious of Johann Michael Fleischmann we decided to name the writing "Fleischmann Gotisch PT" (unhyphenated). Developing the digital Fleischman Gotisch I decided not to use one of the thirteen sizes as binding mastercopy, but corresponding to the typical ductus of the font to re-create an independent use of forms strongly based on Fleischmann´s language of forms. All ascenders and descenders were standardised. Some characters, identified as added later on, were eliminated (especially the round lower case-R and several versions of longs- respectively f-ligatures) and others were adjusted to the principles of Fleischmann. Where indicated the diverse characters were integrated as alternative. They can be selected in the corresponding menu. All for the correct german black letter necessary longs and other ligatures were generated. Through the according integration into the feature-code about 85% of all ligatures in the type can be generated automatically. Problematic combinations (Fl, Fk, Fh, ll, lh, lk, lb) were created as ligatures and are likewise constructed automatically. A historically interesting letter is the "round r", which was already designated by Fleischmann; it is used after preceding round letters. Likewise interesting is the inventive form of the &-character, which is mentioned by Tschichold in his corresponding abstract. Nevertheless despite all interpretation it was very important to me to maintain the utmost fidelity to the original. With this digital version of a phantastic texturfont of the late baroque I hope to contribute to a blossoming of interest for this genious master of his kind: Johann Michel Fleischmann. OpenType features: - Unicode (ISO 10646-2) - contains 520 glyphes - Basic Latin - Latin-1 Supplement - Latin Extended-A - Latin Extended-B - Central European Glyhps - Ornaments - Fractions - Standard ligatures - Discretionary ligatures - Historical ligatures - Kerning-Table

Shout is a “Hey, Look at ME” font. It is an attention-getting font for posters, flyers and ads. Its lineage includes the Haas Type Foundry’s 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as “extended sans serif” and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a “shout,” as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black, but with a relatively heavier lower case that is not so easily pushed around by the upper case. After all, one can shout while sitting down. Shout is the first font released with our new encoding, as noted in the All_customer_readme.txt. The Euro symbol has been moved to position 128 and the Zcaron/zcaron have been added at positions 142/158 respectively. Otherwise, Shout has our usual idiosyncratic glyph selection, with the German ch/ck instead of braces, a long s instead of the Greek mu and our usual Hand-in-Hand symbol. There are also left and right glyphs of a big mouth ]ing (135/137) and left and right glyphs of an angry man shouting (172/177). Please use Shout with discretion. Folks get tired of being yelled out. After awhile, they stop listening. Shout ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 355 glyphs. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt. 3. Added 266 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised hyphen, dashes & math operators. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Victoriana arose from an inquiry from the Victorian Society for a Victorian font for their journal. As it turned out, no commission resulted, but interest in such a font was aroused in Andy Benedek. Basing the design on some woodblock letterforms, outlines of a basic set of characters were drawn. These, however, were modified to the extent that the final font bore little resemblance to the woodblock letterforms. As erstwhile cyclists, the font was named after the British and champion world track cyclist, Victoria Pendleton who was greatly admired.

Guenter type got its name after Guenter Gnauck — the calligrapher from Eastern Germany whose works brought an inspiration and initial incitement for the design. But in contradiction to the calligraphic nature of the inspiration source Guenter has a specific construction that is built solely with straight stems. Like KvadratZ family Guenter belongs to so called 'in-one-touch' series. The first version in one basic style was developed by Zakhar Yaschin in 2001. In 2009 the font was redesigned with addition of 3 new styles and released by ParaType as a family.

IT’S MAILBAG TIME! Dear Jolly JG Roshell and Rascally Richard Starkings, Comicraft Fonts are a thing of Beauty and a Joy Forever! You guys must be a Wild Bunch, and I roar with delight whenever a new comicbookfonts release appears in my emailbox. But I have to level with you daredevils...what about us Letterhacks? We need representation too! We haven’t spent years hammering away on our typewriters to be ignored! BRING BACK THE LETTER HACK! In fearless font form. You know it makes sense! Truly Yours, Forbush, Irving, senior.

Font breeding is much like animal breeding, where stallion and mare, or bull and cow, or boar and sow are carefully matched in hopes of yielding a robust and useful offspring. When typefaces RoundUp with fat, rounded serifs and WyomingSpaghetti with fat, squarish serifs were chosen to be parents, it was clear that their offspring would inherit large serifs. But to discover exactly what the offspring would look like, the pairing needed to be consummated, which was done with the “Blend Fonts” commend in Fontographer. The two styles of RoundWhy are the result.

Designed by Hans Samuelson in 2023. With two weights and many variations Klip Klop offers a large set of characters for playful lettering. The flavouring is strong avant garde and the build is strict geometrical with even stroke thickness throughout. One unusual feature is that the bottom and top horizontal strokes are centered on the baseline and capital height. This renders the same optical size between the thin and the medium but different actual heights and baselines. Use it for Headlines or signage in any medium! Klip Klop!

ITC Musclehead is the work of type designer Timothy Donaldson, a robust, densely packed handwriting typeface. It almost looks like brushwork but was in fact made with a ruling pen which Donaldson had bought from a company in Salem, Massachusetts. He says, The world's gone ruling-pen mad at the moment [late 1990s] and I was beginning to tire of all the skinny splashiness of the letters that most people were making with them. I wanted to do something heavy and robust with the tool, so that's what I did.""

About family “SaetaPro” Wind games… The name is taken from an old paper toy made by someone who makes paper planes with teasing messages. But there are also songs with a strong feeling in flamenco style. It is also a way of expression in order to give way to emotion and interpersonal communication. They are wind games that people have been playing for a long time ago!!! This series is composed and includes twelve fonts with 632 glyphs each, with true italics, true Sloping and supports of course: Latin, Greek & Cyrillic.

Kau is a quirky, sans serif display font in two weights. Its funky, stencilled outline bursts onto the page with in-your-face energy, just demanding to be noticed. Kau Black is big and bold, specially crafted for posters, headlines, ads and logotypes. Kau Light forms a perfect foil - clear, skinny and edgy. Use the two together, in a contrasting explosion of form, to create exciting contrasts and vibrant designs The font has all the features of a fully professional typeface. Language support includes all European character sets.

Karmella a classy serif font with a handful of curvy ligatures. Think Wild Mango with a twist! This font is both bold and elegant.. modern yet vintage.. either way, it is sure to bring attention to your brand and designs! Karmella includes alternate letters (letters with the curvy swashes). These letters are embedded into the font file and easily accessible in programs such as photoshop and illustrator. You can access these in more basic design programs but you will need to use your character map or font book

Oceanshore is a modern display sans typeface with stencil characteristics and based on geometric shapes. That when combined gives the font a retro-futuristic look and makes it ideal for big and catchy editorial headlines. The family includes 6 styles, from Thin to Bold, each of them in a wide variety of alternates and ligatures that provides the users with a number of choices when composing. Each font comprises more than 550 characters and supports over 200 Latin languages. Seashore is well-suited for headlines, short text, posters, flyers and so on.

Chokey Pro is a richly featured, multi-language, joined handwriting script with a host of uses. Derived from La Carte, Chokey Pro works well wherever a sense of informality and spontaneity is required. Use it for menus and wine lists, newsletters, recipes - even poetry. The idea was to create a stylish but legible script that would handle fairly sizeable chunks of copy. With 500 alternative letters (including over 100 combinations), a full range of small caps, superior characters and number variants, Chokey Pro will meet the demands of even the most sophisticated texts.

Sortland is single weight font inspired with vintage serif typography. By it’s design, Sortland is condensed, contrasted and typeface with tall x-height. It radiates with distinctive charm and warmness as soft lines and rounded corners make friendly impression on words made with Sortland. Sortland recommends itself for package design, posters, outdoor and indoor graphics, logo and websites either for headlines or paragraphs. In terms of markets, it’s ideal for beverage, food and cosmetics, but also for movies, magazines and books. Comes with Small Caps and standard Ligatures.

Bismuth is a simple versatile multi-purpose display typeface with nine weights. Both the upper and the lower case are capitals -- the paired letters (e.g. Aa, Bb) differ in construction but keep the same width. The width is also consistent across all weights, making the fonts easily interchangeable. The nine styles are accompanied with a free font Bismuth Symbols which contains more than one hundred various arrows, symbols and patterns for even more striking display typography. Learn more about the typeface and its OpenType features at http://www.urtd.net/fonts/bismuth.

The sheet music for the 1939 tune "Chico's Love Song (Ma-La-Ja Fa-La Pas-Ka Lah-Ta) [Cuban Double Talk]" may have had an odd title, but the main portion of it was hand lettered in an interesting style. Condensed letters with rounded corners complemented by sharp lines and angles give the characters an almost futuristic look, despite the fact that they were designed during the Art Deco era. This became the basis for Song Composer JNL, which is available in both regular and oblique versions.

The German-born designer Lucian Bernhard designed Bernhard Fashion in 1929. An American" typeface, Bernhard's original design was created for the American Type Founders (ATF). It bespeaks the spirit of the roaring 20s. The hairline-thin letters exhibit elongated ascenders (but not descenders), and many stylized elements. The capital letters also all descend visibly below the baseline. In text, the extra large capitals seem almost like drop caps. This typeface is best used sparingly in text. Largely set headlines will allow readers to enjoy the fashionable quality of Bernhard Fashion's design."

Core Bandi is a grunge 3D font supported by equivalent ‘flat’ styles named Core Bandi Face. This typeface is very cute and has rhythmic flow line, but not distracted. And you can easily make various color combination with CoreBandi & CoreBandi Face. Its really hard to find doodled 3D Korean(Hangul) fonts even in Korea because Hangul has as many as 11,172 characters. Supported codepages are MS Windows 1252 Latin1 and MS Windows 949 Korean consisting of 11,172 Korean letters and Symbols except Chinese. We recommend to use for books, magazines and posters.

Mrs Lollipop is a hand drawn narrow typeface designed for one of our books. You can layer different styles over the background style to achieve lots of colorful effects. Check out the manual for details. Mrs Lollipop has upper and lowercase characters with up to three alternate glyphs. Build in OpenType Contextual Alternates feature will automatically set alternate glyphs depending on frequency of appearance of the same character (even in web font but only in HTML5 browsers). The script doesn’t throw random glyphs. It has lines, frames, hearts, stars, ladybird and two rabbits.

Our Englebert Pro draws inspiration from the title screen of the 1930's film entitled, "Der Blaue Engel", starring Marlene Dietrich. Playful but subdued, yet striking enough to catch the eye, this casual sans has a distinct signature look to it. The offbeat letterforms engage the reader, while the SmallCaps and extensive figure sets lend a wider versatility to the typeface. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

ITC Mudville was Christopher Wolff's entry in the 1998 U&lc Type Design Competition, for which he won an Honorable Mention (Display). Mudville evolved from variations on hand-lettering that Wolff had done on a variety of projects over the years. The underlying shapes of the letters are formal roman letterforms, but the actual strokes retain the look of letters sketched casually on a layout. Mudville straddles the line between inline and outline type designs. It recalls some of the styles of popular lettering used in display advertising in the '20s.

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. Don't worry, in our efforts to ensure clean and confident lettering samples, we kept Shannon on decaf until he was done. Dip this font in your system folder and your hard drive will get a caffeine and sugar rush guaranteed to increase its memory partition and bring the images on your monitor into sharper focus.

Alvarosa is a beautiful, elegant and thin display font. Incredibly trendy and versatile. Inspired by the trends of minimalist looking display fonts that shown on social media, I've made a uniqueness sans serif by adding the quirky elements on a basic letter-form but still easy to read. It can be used for various purposes such as logos, wedding invitations, headings, t-shirts, letterhead, signage, labels, news, posters, badges and so much more. Alvarosa comes with 3 different weight : Thin, Light, and Regular. More thin are for Larger text.

NORTH ZONE Urban Font is a supercharged, with extra attention to quick strokes and sharp details, NORTH ZONE It contains uppercase, lowercase and swash. NORTH ZONE is ideal for logos, apparel, t-shirts, hoodies, quotes, product packaging, or anything that needs a typographic turbo-boost and you’ll get a unique swash to accompany the font. Language Support - We've added in a great deal of extra characters to support many different languages. If there is a problem, question, or anything about my fonts, don't hesitate to ask! Big Thanks Ergibi Studio

An ad in the Oct. 27, 1919 issue of the trade magazine “The Moving Picture World” promoted “Princess Virtue” from Bluebird Pictures starring Mae Murray – The Adorable [as noted by the movie studio in the ad]. The Art Nouveau hand lettering emulated the style usually drawn with a round nib pen, but was given a specialized treatment for the ad. It was re-drawn in a more traditional ‘pen nib’ look for digital revival. The end result is Silent Movies JNL, which is available in both regular and oblique versions.

Rasteroids is a typographic flashback to computing of the mid 1980s, when 9-pin dot-matrix printers were the state of the art, and most home computer displays were TVs hooked up to RF modulators. Rasteroids not only captures the dot-matrix printer look, but recreates the rasterized appearance of text on those lower-resolution monitors. Unlike that dot matrix type of yore, Rasteroids does have some variation in character width, and is legible in small blocks of copy. Still, it is best used sparingly, or as a special effect.

Anghones Script is a simple typeface - easy to read and comfortable to wear! You can use them as logos, badges, badges, packaging, headlines, posters, t-shirts / clothing, greeting cards, business cards, and wedding invitations and more. The flowing characters are ideal for creating interesting messages to your taste. Mix and match a group of alternate characters to fit your project. It will be more interesting if you add swashes! Alternate characters in this font are divided into several OpenType features such as Stylistic Alternates, Ligatures and Ligature Alternates. Email support: maculinc@gmail.com Thank you! -Maculinc

The inspiration for this font (as well as the name!) comes from a London cafe I visited years ago. I was fascinated with the handwritten menu - irregular and awkward, yet refreshingly charming. I did my best to recall that particular look by adding 4 slightly different versions of each lowercase letter. The name of the font comes from the speed of the waiter...or the lack of it! But luckily he took his time, otherwise I wouldn't have had the time to really look at the handwritten menu! :)

ITC Verkehr was designed by Mott Jordan, who based its forms on those of narrow sans serif typefaces but also chose a departure from the tradition to set the font apart from the rest. The upper half of each character is heavier than the lower half, although this is usually the other way around. Diagonal strokes, like the horizontal of the lower case e, relax the otherwise regular, bar-like look of the font. ITC Verkehr is suited exclusively for use in headlines and display in larger point sizes.

Take a little Inspiration, mix in some Sassy Frass and a splash of Waterfall; add hundreds of alternate forms and you have the recipe for a versatile hand writing font. This fun, scribbly little font can fool you. At first glance it looks crude and simple. But, with over 1600 glyphs, combine the right character pairs and suddenly Fuggles is a powerful script that can be used for sophisticated commercial design. Some characters are quirky, some are swashy, some are scribbly and others are elegant. So take a look at the world of Fuggles.

No: Jethro Bodine didn't design this typeface although, to look at it, you might be tempted to think so. Rather, the pattern was a product of the fertile imagination of famed lettering artist Alf Becker. The lowercase letters are the same as the uppercase, but angled differently so, if you want a randomized appearance, you can activate Contextual Alternates and the font will do the shift-key double-clutching needed. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Moldovan and Romanian.

Manual is an 80 font super family formed of 10 weights in 4 different widths. The font is styled with a slight retro feel to give it a unique appearance. Manual is a blue-collar font that works hard for you and your design ideas. The higher x-height enhances the readability for smaller, more informative text sizes whereas the black weights create beautiful, impactful headlines to fit a variety of spaces. The support of the expansive weights and widths will give your design a truly unique feel.

Supporting Cast JNL is a hybrid of similar designs for hand lettering found on title cards from two morality photoplays from 1936 dealing with drug abuse, "Cocaine Fiends" and "Marihuana" respectively. The films were produced with the hope of educating the public against the dangers of illicit drugs, but they have taken on a cult status because of the dated approach to the problem. Despite all this, it is the Deco-influenced hand lettering which is being celebrated in this font release, not the subject matter of the films.