David Kowalski’s typeface Maccaroni is based on a logo type and has been designed to a complete typeface in Prof. Veljovic’s Type Design course at HAW Hamburg. Maccaroni breaks the traditional brush scripts and offers a unique design. Each letter is present in triplicate in order to achieve the illusion of a hand-written typeface. The OpenType programming ensures that two identical letters won’t follow each other.

This is the elaborate digital version of Edel Grotesque Bold Condensed (also known as Lessing, Reichgrotesk, and Wotan Bold Condensed) a 1914 typeface by Johannes Wagner, which was later adopted by pretty much every European type foundry, exported into the Americas, and used on war propaganda posters on either side of the Atlantic. Bold, condensed, yet clear and legible, Wagner Grotesk is good for cramming information into tight spaces. Extended language support includes Western, Central and Eastern European character sets, as well as Greek, Cyrillic, Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages. Biform letters and small caps make Wagner Grotesk a most versatile and functional headline face.

Josephine, named for Josephine Baker, the legendary dancer of the 1930s, is a twenty first century sans serif typeface that harks back to the earlier part of last century. Although very modern, it has been greatly influenced by the many art deco fonts produced during the twenties and thirties of the twentieth century.In it I have tried to capture the art deco spirit in a modern humanist font. Josephine is exceptionally readable and yet completely characteristic of the Art Deco period. It can be used for text passages as well as display in posters, advertising, labels and packaging. It is professionally finished and contains all upper and lower case characters as well as all special characters, punctuation and symbols.

Longshanks is a condensed serif display font with a low waist, blade-like strokes, and other unusual detailing. This font features a medium-low x-height and works very well at larger display sizes. It's an excellent choice for any headline, banner, or title that would benefit from an old-world, historical, fantasy, magic, or sword & sorcery vibe. It also harks back to the metallic foil stamped type treatments from 1980s – 1990s romance novel book cover design. The offbeat features are subtle enough to leave this font with a very high degree of legibility in spite of its strong and dynamic treatment of certain serifs and finials. The namesake for this typeface is King Edward I of England, whose nickname was Edward the Longshanks.

Mother of Mitra, Crom’s Devils and other Savage WORDS! The only thing better than one dead Pict is TWO! Or THREE! Or FOUR! And what better than this SAVAGE font to sound the sword strokes of a BARBARIAN BORN?! Hack! Slice! Cut your fiendish foes into pieces with Comicraft’s SAVAGE SWORD and tell your SAVAGE TALES to all and sundry and even those you’ve sundered! BE AWARE! Handle with care and keep some neosporin or other antibacterial cream at hand -- being Savage and filled with Berserker Rage may result in unintended wounds to yourself and your kinsmen. Savage Sword features two sets of automatically alternating uppercase characters, plus support for Western & Central Europe and Vietnamese.

Chilango is a beautiful new typeface based on the gorgeous hand-painted street signs of Mexico City.., It come with 7 weights and a unique Italic family. Throughout Mexico City, from the Centro Historic (Zocalo) through La Condessa, Polanco and Guerrero - from La Roma to San Rafael to Atlampa to Lomas, you can be sure to see the iconic hand painted blue with white lettered street signs wherever you go. It is an exuberant and flourishing font that represents this fabulous flourishing city to its core. It is a historical one, classy and stylish and deeply routed in the curvature and designs of the Spanish heritage.

Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography. Although it draws inspiration from some cold type ideas, like the uncredited Atlantis from VGC and a couple of older photo-lettering faces, its overall expression is right in line with what has become today's vernacular in integrity organic display packaging. Pipa's construct approaches the thick-and-thin idea from a rarely used perspective, where the flow in form contrast naturally seeps out from within each stroke, while minimizing the amount of strokes helps the totality of the setting come positively alive. This is bead and lava lamp psychedelia for the 21st century. Pipa comes with plenty of alternates, including some very cool unicase variations, and extended Latin language support.

Terrance Weinzierl's Terry Junior typeface is a perfectly imperfect design – one that retains the marks of the brush used to create it and harks back to the craft required to hand make letterforms. Originally drawn during a Monotype Font Marathon, Weinzierl later refined the typeface digitally – adding an Inline version and designing alternates that replicate the irregularity of real-life brush scripts. “It has a natural, cheery and bold appearance,” says designer Terrance Weinzierl. “It's young, but not wild. Painted, but not sloppy. A sign painter's apprentice, perhaps.” Terry Junior is an obvious choice for designers and brands communicating with younger audiences, but would also work well on book covers, packaging, and in digital environments that need a little bit of extra playfulness. The family includes five fonts, including an Inline version.

It's the Summer of Love all over again with this groovy psychedelic font. Designed in 2019, this typeface harks back to the carefree days of the late 1960s. Whimsical and offbeat with its swaying verticals, it nonetheless remains one of the more legible reimaginings of the genre, sporting all of the handlettered vibe of posters and album covers from the original hippie era, but with polished color and weight that evens out the legibility even at relatively small point sizes. Predominantly a unicase font, with a couple of alternate glyphs from upper to lowercase, Summer of Love works best as a large headline face, and benefits greatly from twisting and morphing the type blocks as was common during the original psych era. It's a real groove machine, baby.

In nautical folklore, the Flying Dutchman is a ship that can never go home and is doomed to sail the seas forever as a ghost ship. The story of the Dutchman appeared in print in the 1820s. With different versions written over the years, some date the legend to the 1640s or the early 1700s. The Flying Dutchman font is a revival of an 1876 font from MacKellar, Smiths & Jordan Co. The Truetype and OpenType formats include a larger extended character set with Central and Eastern European accented letters. Extra characters in this font are left and right pointing hands in place of the less than and greater than keys and a pirate flag is on the bracket keys. New to this style is the distressed version where the letters look like they've been hacked by a cutlass.

Arnel Vintage Font is a striking sans-serif typeface that effortlessly embodies the rustic charm of vintage stamps, capturing a raw and hand-drawn aesthetic. This font is tailor-made for all your vintage display needs, exuding an authentic and weathered appearance that harks back to yesteryears. With Arnel, you can effortlessly transport your audience to an era of nostalgia and authenticity. Its rough edges and irregularities in letterforms evoke the tactile feel of aged ink stamps, giving your designs a genuine vintage appeal. Whether you’re creating posters, labels, or any project that calls for a touch of vintage character, Arnel Vintage Font adds a unique and nostalgic flair. It’s like unearthing a hidden treasure in the world of typography, making it the perfect choice for projects that aim to evoke a bygone era’s timeless charm and authenticity.

FranklinGothicHandLight is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

FranklinGothicHandDemi is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

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. We give up! We can’t resist your appeals, threats and commands ANY LONGER!!! We may crack under the strain, but this month’s release IS two (count 'em) Letterhacks! That’s right, a pair of fantastic fonts that recreate the look and feel of your Marvelous Letters of the Sixties! It’s a Bullpen Bulletin! It’s an Iconoclastic Item!

FranklinGothicHandCond is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past, Gert Wiescher.

FranklinGothicHandBold is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

The German designers Gerd Sebastian Jakob and Jörg Ewald Meißner developed the Linotype Puritas family in 1999. The family, which has six text styles as well as a ornament set, displays a very geometric design, which harks back to the German modernist experiments with typography and lettering from the 1920s. The letters in Linotype Puritas Light, Linotype Puritas Medium, and Linotype Puritas Bold all have a slight slant to them. Not to be confused with an italic-grade slant, which may be found in the Light, Medium, and Bold Italic styles, these acute slants add a dynamic quality to text. The Linotype Puritas Ornaments font contains several dingbats and border elements, all drawn in the same line style as the companion letters. The entire Linotype Puritas family is included in the Take Type 4 collection from Linotype GmbH."

Brosse is a family of slabserif faces which emphasise clarity and geometric cleanliness of line, in a 'Brave New World' sprit that harks back to the 1930s and possibly also to postwar rebuilding in the 1950s. Its clear legibility makes it ideal for poster work and titles, as well as for signage of any kind. Eight faces are offered, regular and italic, bold and bold italic, as well as a condensed face and a bold weight thereof. There are also two decorative forms- outline and embossed faces. All faces include a large character set and extensive Opentype features. A Demonstrater version of the regular face is also offered free of charge-this is fully licensed but has a signnificantly reduced character set.

Haakke (or Håkke) - a casual, hand drawn (Stabilo OH pen, Fine) font with 4 alternates to all upper and lower case letters (a-z + å ä ö) as well as numbers for a realistic hand written look and feel! “Ligatures” have been created for double letters (TT, tt, ff, ll & LL (open type version of the font and open type compatible layout application required). Of course it holds all(?) the special characters that you will ever need. 451 glyphs... Haakke also includes symbols. Zodiak signs (letter a-l, upper case A-L write the corresponding name of the sign), planet signs (m-z, upper case M-Z write the corresponding name of the planet) triangles, squares and stars (from pentagrams (5 pointed) to Dodecagrams (12 pointed). (Write a 4, or shift-4 ("euro-sign", european keyboard, or "dollar sign", american keyboard) before your star or triangle and you will get a circle around it).

Nostalgic Typewriter is a typewriter font that exudes classic vintage charm with an irresistible allure. Inspired by the iconic typewriters that once dominated the world of manual typing, this font brings forth warm nostalgia and timeless appeal in every character. Key Features: Classic Aesthetics: Every letter in the Nostalgic Typewriter is meticulously crafted to create a classic look that harks back to bygone eras of manual writing. Vintage Power: The font captures invaluable retro vibes in its design, with rough edges and character placement that evoke an authentic feel from yesteryears. Character Diversity: Nostalgic Typewriter boasts a variety of characters, including uppercase, lowercase, numbers, and special symbols. All are designed to cater to your diverse design needs. Ease of Use: This font is ready to enhance a wide range of projects, such as poster designs, stickers, greeting cards, t-shirts, and more. With flexible licensing, you can confidently use it for personal or commercial projects. High-Quality: Nostalgic Typewriter is crafted with attention to detail and top-notch quality, ensuring that your printed or digital output will always captivate.

Jim Ford's Hideout typeface is definitely walking on the wrong side of the law. Inspired by the flared serif lettering of antique tobacco tins, its sturdy shapes are confident, eye-catching, and hark back to the Wild West. Large sizes bring Hideout's details to life, emphasising the delicate nicks in its Ks and Rs. For designers that need to soften some of its swagger, a set of decorative alternatives offer a little Art Deco elegance, adding some refinement to its chunky letterforms. With its 14 weights, Hideout is an adaptable design that works especially well when used for display – for example in book covers, packaging, posters, restaurant menus, or editorial. Don't miss the ghost weights, which hint at the kinds of weathered lettering found on faded and peeling Wanted posters.

The 1765 Stamp Act ignited in American colonists a simmering distrust of the distant British Parliament, whose oppressive trade duties they deemed unfair assaults on their rights as English subjects. Before long, of course, this little dustup spawned The Boston Tea Party, the American Revolution, and the birth of the U. S. of A. But before the Battles of Lexington and Concord, a group of Philadelphia merchants made one last-ditch call for commercial cooperation across the Atlantic. This futile appeal survives to this day on a three-page broadside, finely engrossed by a penman of the period and passed down through the generations of a family named Remsen. Remsen Script is an interpretation of that penman’s neat, formal cursive—from its broad antique flourishes to its subtle unevenness and gently ragged strokes. Perfect for event announcements, fine product packaging, recreations of historical documents, or anywhere you wish to offer a whiff of a bygone era.

Chop chop! VLNL Cleaver is an important tool in the Vette Letters’ kitchen. It’s a butcher knife of a font. Razor sharp, ultra heavy and with pointy slanted serifs. At first glance it seems straight-lined, but a closer look revails that all straight lines are curved inward slightly, which enhances the sharp image even more. Cleaver was originally designed by DBXL for cutting meat - hell, it even hacks right through bone. It can easily splice a chicken in one slash or seperate ribs, just like that. You can also very well use it to chop up hard vegetables like pumpkin or squash on the chopping block. It gets better, the opposite blunt side can be deployed to crush ingredients like garlic, nuts or spices like black pepper. You could use a grinder, but with Cleaver it’s more fun, isn’t it? VLNL Cleaver is suitable to give a sharp edge to flyers, posters, logos (Heavy metal bands and other) or magazine headlines.

Zest is an informal brush script drawn with quick, thick brush strokes. While it is based on everyday handwriting, the expansive and easy flow of the script hides the care that has been given to the crafting of each character. In style it harks back to the hey-day of American lettering and calligraphy, yet it has a looseness that is thoroughly modern. Zest comes in three styles: -- Zest-Medium, which is medium-weighted and appropriate to a wide range of applications; -- Zest-Drama, in which the contrast between the the thicker and thinner parts of a brushstroke has been dramatically enhanced; and -- Zest Bezel, in which the brush strokes have been given a contemporary, square-cut appearance. Zest is ideal for invitations to stylish but relaxed events, for advertisements that are intended to create a special ambiance, for posters and for announcements.

In 1972, VGC released two typefaces by designer friends Dick Jensen and Harry Villhardt. Jensen’s was called Serpentine, and Villhardt’s was called Venture. Even though both faces had the same elements and a somewhat similar construct, one of them became very popular and chased the other away from the spotlight. Serpentine went on to become the James Bond font, the Pepsi and every other soda pop font, the everything font, all the way through the glories of digital lala-land where it was hacked, imitated and overused by hundreds of designers. But the only advantage it really had over Venture was being a 4-style family, including the bold italic that made it all the rage, as opposed to Venture’s lone upright style. One must wonder how differently things would have played if a Venture Italic was around back then. Chopper is Canada Type’s revival of Venture, that underdog of 1972. This time around it comes with a roman, an italic, and corresponding biform styles to make it a much more attractive and refreshing alternative to Serpentine. Chopper comes in all popular formats, boasts extended language support, and contains a ton of alternate characters sprinkled throughout the character map.

Robert Moore is a font that was specially designed for comics. A lot of work has been done. At first, glyphs were drawn manually using different markers, then they were transferred to the font. The font was tested on real printing and digital comics. The world of fonts for comics is big and I wanted to create even more variability for authors with one family, which is why a variable version was created containing two axes: weight and italics. This gives you more options. A large number of glyphs, multilingualism, ligatures, and a capital give even more scope for work and creativity. The name was created from the names of the authors of the comics Robert Kirkman and Alana Moore, so the Robert Moore font turned out. Although the font was made for comics, it is not limited to them. Posters, logos, covers, text, headings, prints, product design, web, interfaces are not all options for using the font.

The DIN Neue Roman adds something new to the established concept of the DIN 1451 type’s technical origin. As a serif counterpart it leaves its static appeal to bring some friendliness into this industrial idea. With more contrast than a slab serif and the dynamic stroke of transitional type DIN Neue Roman defies all conventions, but keeps its legibility. To have enough resources for diverse and complex typography this type family offers 7 weights with italics, small caps and all kind of opentype features. Type designer Philip Lammert likes to play with the great potential of contradictions. That brought him to this design combining two essentially different classics. DIN Neue Roman is part of his 2015’s master thesis at the HAW Hamburg which was supervised by Prof. Jovica Veljovic.

Designed over three years after the second World War, and published in 1949 by the Nebiolo foundry, Normandia was Alessandro Butti’s take on the fat face. As it usually was with Butti’s designs, this face effectively injected a catchy yet expertly calculated calligraphic spin into its source of inspiration — which was the essentially geometric/deco, thicker model of Bodoni’s very popular aesthetic. The metal Normandia saw some widespread use for a handful of years after its publication, not least because of the multitude of sizes in which it was available. It stepped out of the limelight by the mid-1950s, due to a combination of the popularity of cold type and Nebiolo’s refusal to retool its faces for new technologies. It was copied by a few small film typesetting outfits on both sides of the Atlantic, but never really found its way back to the mainstream. By the time computer type became the norm, Normandia was pretty much relegated to a type historian’s collection of anecdotes. This digital update of the classic series revives and refines the three original metal designs (Tonda/Regular, Corsiva/Italic, and Contornata/Outline) and expands the character set to more than 600 glyphs per font, including small caps, six types of figures, fractions and nut fractions, a full set of f-ligatures, some stylistic alternates, and other fine typography niceties.

Zierde is a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richard’s own range of Grotesques. More importantly, Zierde is accompanied by a large set of ornaments (+200) which hark back to the look-and-feel of the early-modernist arts and crafts movement. The ornaments in, and presentation of, Zierde owe much credit to J.G Schelter & Giesecke’s 1913 type specimen book ‘Die Zierde’. The strong functional uppercase sans-serifs alongside luscious, beautiful patterns in ‘Die Zierde’ make for beautiful combinations. This early-modernist use of grotesk alongside ornament looks bizarre in the eyes of us used to seeing sans-serifs in more formal, sterile settings. The face itself retains some historical flourishes such as the eccentric leaning angle of the italics, the long cross-bar on the ‘G’, the gammy-leg of the ‘R’, a strange ampersand and some irregular terminals across the weights. Zierde is display face meant for headlines, titles, short-copy, labels and logos. It comes in caps and small caps, Latin and Cyrillic.

Kosnat Trunks is a striking sans-serif display font that seamlessly blends retro aesthetics with a touch of modern design. With its wavy ligatures and a whopping 920 meticulously crafted glyphs, this font is a typographic masterpiece that will elevate your design projects to new heights. Key Features: Retro Charm: Kosnat Trunks exudes a delightful retro charm that harks back to the styles of the past, making it perfect for vintage-inspired designs. Wavy Ligatures: The unique wavy ligatures add a playful and dynamic element to the font, making your text visually captivating and memorable. Vast Glyph Library: With an extensive collection of 920 glyphs, Kosnat Trunks offers you unparalleled versatility in your design work. This includes uppercase and lowercase characters, punctuation, symbols, and special characters. PUA Unicode: Kosnat Trunks supports the Private Use Area (PUA) Unicode, ensuring compatibility across various platforms and applications. This feature allows you to access alternate characters and glyphs effortlessly. Multilingual Support: Whether your project requires Latin-based characters or extends to various international languages, Kosnat Trunks has you covered with its comprehensive multilingual support. Ideal Usage: Vintage Branding: Create eye-catching logos and branding materials for retro-inspired businesses and products. Poster Art: Craft attention-grabbing posters and promotional materials that demand attention. Editorial Design: Elevate your magazine layouts, book covers, and editorial spreads with this unique font. Packaging: Design packaging that stands out on the shelf and tells a compelling story. Web Design: Use Kosnat Trunks to add a touch of nostalgia and personality to your website headers and titles. Kosnat Trunks is not just a font; it's a design tool that empowers you to infuse your projects with a sense of nostalgia and style. Elevate your typography game with this versatile and captivating typeface.

Welcome to the world of Permanence, where the past meets the future. Inspired by the iconic cover of Alvin Toffler’s groundbreaking hardcover, “Future Shock” from 1970, Permanence is the perfect typeface to transport you to a world of limitless possibilities. With its bold, clean lines and sleek design, Permanence captures the essence of the retro-futuristic style. Its crisp, angular shapes and unique curves evoke a sense of progress and innovation, harking back to a time when anything was possible. Permanence is more than just a typeface—it’s a vision of a better tomorrow. Its timeless design captures the optimism and hope of a bygone era, while still feeling fresh and modern. Why settle for the ordinary when you can experience the extraordinary with Permanence? Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Hear ye, hear ye! Adventurers of all realms, allow me to regale you with a tale of Mikadan, a font of great splendor and beauty. Behold, its letterforms are imbued with the grace and character of the medieval age, yet tempered with modern sensibilities. This typeface is a tribute to the great Verona of Stephenson Blake, a typeface of old that harks back to the days of yore, the age of kings and queens, and the rise of chivalry. Mikadan also draws inspiration from William Dana Orcutt’s Illumanistic, a font of great power and mystery from the turn of the century. Moreover, Mikadan possesses some of the accessible qualities of Morris Fuller Benton’s Motto, a font that has stood the test of time since 1915. Truly, Mikadan is a font that combines the best of old and new, of medieval fantasy and modern design. With its easy-to-read letterforms and medieval design, Mikadan is the ideal choice for all modern applications. Whether you’re designing a poster for a tournament, a sign for a market, or a banner for your guild, Mikadan will serve you well. And if your program supports OpenType alternates, you can access unique drop-down capital letters that will truly set your design apart. So come forth, brave adventurers! Embrace the medieval fantasy design of Mikadan and set forth on your journey to create designs that will endure through the ages. Most Latin-based European, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kalmyk, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Khalkha, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec, Zulu and Zuni.

The Schneidler Latein is a sharp and elegant Antiqua based on the ductus of the broad edged pen with a strong character. Running perfectly in paragraph text giving it something quite special and being effortlessly legible at the same time, Schneidler Latein works great in headings as well. Each glyph is a piece of art ready to be used in branding and blowup combining beauty and personality in a kick-ass blend. It is absolutely new to the digital world as it never has been digitized before. This new version digitized, further developed and extended by artist and graphic designer Lena Schmidt comes in nine styles from which there are four application-related ones like Subtext and Display and five weight-related ones like Bold and Heavy. Each style contains 948 glyphs, variations of numbers, three stylistic sets one preserving the historic forms of changed characters, small caps, open type features and superior and inferior characters. Designed by F. H. Ernst Schneidler the Schneidler Latein was released in 1916, the bold version in 1920 and the italics in 1921. Schneidler was born in 1882 in Berlin. He studied at the school for applied arts in Düsseldorf with professor F. H. Ehmcke and P. Behrens. He was as a painter, graphic designer and illustrator. In 1920 he was appointed as teacher in the school for applied arts Stuttgart. His students were Albert Kapr, Imre Reiner and Lilo Rasch-Naegele among others. Further well-known fonts from his hands are for example Legende, Amalthea, Schneidler Mediävel and Schneidler Antiqua. Lena Schmidt was born 1981 in Bremen. She is a german painter, graphic designer and illustrator mostly known for her huge wood carving paintings. From 2003 to 2011 she studied Fine Arts in Hamburg with professor Matt Mullican. From 2015 to 2019 she studied graphic design with a focus on type design at HAW Hamburg Department Design with professor Jovica Veljović. She lives and works in Hamburg, Germany.

Almost a half of a millennium after being mistaken for the original 4th century Gothic alphabet and falsely labeled "barbaric" by the European Renaissance, the blackletter alphabet was still flourishing exclusively in early 20th century Germany, not only as an ode to Gutenberg and the country's rich printing history, but also as a continuous evolution, taking on new shapes and textures influenced by almost every other form of alphabet available. Blackletter would continue to go strong in Germany until just before the second World War, when it died a political death at the height of its hybridization. For almost 50 years after the war, blackletter was very rarely used in a prominent manner, but it continued to be seen sparely in a variety of settings, almost as a subliminal reminder of western civilization's first printed letters; on certificates and official documents of all kinds, religious publications, holiday cards and posters, to name a few. In the early 21st century, blackletter type has been appearing sporadically on visible media, but as of late 2005, it is not known how long the renewed interest will last, or even whether or not it will catch on at all. The last few years before World War II were arguably the most fascinating and creative in modern blackletter design. During those years, and as demonstrated with the grid-based Leather font, the geometric sans serif was influencing the blackletter forms, taking them away from their previous Jugendstil (Art Nouveau) hybridizations. Blackhaus is a digitization and elaborate expansion of a typeface called Kursachsen Auszeichnung, designed in 1937 by Peterpaul Weiss for the Schriftguss foundry in Dresden. This is one of very few designs from that time attempting to infuse more Bauhaus than Jugendstil into the Blackletter forms. This is why we used a concatenation of the words blackletter and Bauhaus to name this face. The result of injecting Bauhaus elements into blackletter turned out to be a typeface that is very legible and usable in modern settings, while at the same time harking back to the historical forms of early printing. The original 1937 design was just one typeface of basic letters and numbers. After digitizing and expanding it, we developed a lighter version, then added a few alternates to both weights. The Rough style came as a mechanically-grunged afterthought, due to current user demand for such treatment. Having the flexibility of 2 weights and many alternates of a blackletter typeface is not a very common find in digital fonts. More specifically, having the flexibility of 2 weights and alternates of a 20th century blackletter typeface is almost unheard of in digital fonts. So the Blackhaus family can be quite useful and versatile in an imaginative designer's hands.

Here I am, once again digging up 60-year sign lettering and trying to reconcile it with the typography of my own time. The truth is I've had this particular Alf Becker alphabet in my sights for a few years now. But in the typical way chaos shuffles the days, Buffet Script and Whomp won the battle for my attentions way back when, then Storefront beat the odds by a nose a couple of years ago. Nevertheless, revisiting Alf Becker’s work is always a breath of fresh air for me, not to mention the ego boost I get from confirming that I can still hack my way through the challenges, which is something I think people ask themselves about more often as they get older. You can never tell what may influence your work, or in this case remind you to dig it out of dust drawers and finally mould it into one of your own experiences. On my recent visits to the States and Canada, I noticed that quite a few high-end steak houses try their best to recreate an urban American 1930s atmosphere. This is quite evident in their menus, wall art, lighting, music, and so on. The ambience says your money is well spent here, because your food was originally choice-cut by a butcher who wears a suit, cooked by a chef who may be your neighbour 20 minutes from downtown, and delivered by a waitress who can do the Charleston when the lights dim and who just wouldn't mind laughing with you over drinks at the bar later. So Steak is just that, a face for menus and wall art in those places that see themselves in the kind of jazzy, noirish world where one-liners rule and exclamation points are part of a foreign language. As is usual with my lettering-inspired faces, there is very little left of the original Alf Becker alphabet. Of course, the challenges present in bringing typographic functionality to what is essentially pure hand lettering gives the spirit of the original art a hell of a rollercoaster ride. But I think that spirit survived the adventure, and may in fact be even somewhat magnified here. This font is over 850 glyphs. It’s loaded with ligatures, swashes, ending forms, alternates, ascender and descender variations, and extended Latin language support. Steak comes in 3 versions. According to your taste you can choose Barbecue, Braised or Smoked. It’s up to you!

Introducing Typewriter Spool, a typeface collection inspired by the timeless beauty of the Underwood No. 5, and carefully crafted for the modern designer who appreciates the artistry of typewritten text. With 122 fonts to choose from, Typewriter Spool offers a stunning variety of styles that are sure to add an air of erudite elegance to any project. One of the standout features of Typewriter Spool is its incredible attention to detail. Each letterform has been meticulously modeled after the classic manual typewriters of the twentieth century, resulting in a collection of fonts that exude a sense of refined authenticity. And with seven weights, three widths, and underline available in the clean and precise Typewriter Spool CLN, you’ll have all the options you need to create polished and professional-looking text. For those seeking a more realistic typewriter effect, the smooth and slightly misaligned Typewriter Spool SFT is an excellent choice. With six weights, three widths, and an automatic variation shuffle for the alphanumeric characters, this font offers a convincing manual typewriter appearance that will make your work truly stand out. Looking for something a little more unique? Typewriter Spool XRX offers a fascinating blend of typewritten text with the aesthetic of multiple generations of faxing and photocopying. And with six weights, three widths, underline, and a variation shuffle effect, you’ll have endless possibilities for creating eye-catching designs. For those seeking a touch of vintage charm, Typewriter Spool RUF offers a worn ink ribbon texture and clunky misalignment that harks back to the days of classic typewriters. And with four weights, underline, and a variation shuffle effect, you’ll have everything you need to create stunningly authentic-looking text. All Typewriter Spool fonts include fractions, punctuation, and mathematical symbols, as well as smart quotes for added convenience. With its wide range of weights, widths, special effects, and language support, Typewriter Spool is truly the last typewriter typeface you’ll ever need to buy. So why settle for ordinary typography when you can elevate your work to the level of artistry with Typewriter Spool? Try it today and experience the difference for yourself. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.