Brew up some sweet Halloween fun with Eeeek Images, a Halloween picture font featuring 60 Amy Dietrich illustrations. From curious crows to cascading candy, Dracula to darling bats - Eeeek Images is MONSTEROUSLY fun... DARE NOT pass it up! Posters feature various fonts by Atlantic Fonts including Rowboat, Mountain Goat, Farmstand, Trailmap, and Judlebug.

Codex was designed by Georg Trump and introduced by the font foundry C.E. Weber in 1954. Based on the German Gothic script of the 13th century, this font has the character of handwriting. Its capital letters are extremely big in comparison with the lower case, hence good for contrast in short text, however, this characteristic makes the font better suited to languages which use fewer capital letters.

A unique and stylized type design with Art Deco influence was found within the French publication “Modèles de lettres modernes par Georges Léculier” (“Models of Modern Letters by Léculier”). This lettering is now digitally available as Deco Wide JNL in both regular and oblique versions.

German designer Georg Popp designed Linotype American Indian in 2002. This symbol font contains mostly-triangular elements, which were inspired by paintings and other arts practiced by the North American Plains Indians. The symbols in Linotype American Indian, and Popp's other fonts, add a delightful touch to any design, especially when used in repetition. Try setting them large in your next flyer or brochure.

Ross George in his numerous Speedball chapbooks called the pattern for this typeface Stunt Roman. A studious observer may discern that many of the wackier letterforms were tamed to produce the popular font University Roman; however, this version remains unapoligetically true to the original. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

A set of rounded Art Deco initials set inside circular borders was found amongst the pages of the vintage French lettering book "Modèles de Lettres Modernes par Georges Léculier”. Now made into a digital font called Deco Spot Initials JNL, these classic letter forms are available in both the original white-on-black version and as a black-on-white alternate design.

Extrabold and exuberant caps from a blackletter face rendered by Ross George in his perennial Speedball Text Book have been combined with a more restrained and traditional lowercase to create a unique and striking typeface that will definitely get noticed. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

Ross F. George, the lettering wizard behind many an edition of Speedball lettering books, called this quirky creation "Spatter and Spot Roman". In this version, the spatters go, but the spots remain, and a good time is had by all. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

This gentle script, designed by writing master Georg Salden, is full of grace and vitality. The richness of ideas appear particularly in the curved capital characters. Lower case letters have curved elements primarily at the ascender and descender parts. Daphne Script contains numerous alternate characters and other OpenType features.

P22 ST.G Shrift is a font series based on the type designs of Stefan George with an italic version designed by Colin Kahn. Stefan George (1868-1933) was a German poet who led the revolt against realism in German literature. All of his works were privately published and the typefaces that were used reflected his neo-classic and anti-industrial (progessive) aesthetics; oftentimes consisting of his own hand lettering designs. The original font was cast in 1907 by a small foundry in Germany and was used primarily for the works of George as well as other books including a monumental edition of Dante's Divine Comedy. The ST.G Shrift Fonts contained in this set are derived from 3 known variations of the original roman typeface, St.G., found in various books published in Berlin in the early 20th century. ST.G Shrift One contains the most idiosyncratic characters, while ST.G Shrift Two uses more familiar characters as well as a redesign of characters including the t and the k to be more in keeping with modern san-serif designs. The OpenType version of the roman contains both one and two and expands on them by including central European characters, small caps, and small caps titling figures. The Small Caps titling figures are derived from the first version of the typeface. Below is a features list (accessible through the type palette in Adobe programs) and their functions: ST.G Shrift Opentype Features: Small Caps: Changes Lowercase to Small Caps Titling Figures: Changes Uppercase to Titling Caps, and Small Caps to Small Caps Titling Figures Contextual Alternates: Changes Character Set to match ST.G One and changes Small Caps to Titling Small Caps Ornaments: Changes < > and ? (greater, less and bullet) to ornaments ST.G Shrift Italic is an art nouveau version of the roman. The OpenType version includes central European characters, small caps, titling caps, titling small caps and ornaments.

WigWag Bold and Wigwag Deluxe are bold, informal lettering styles inspired by mid-20th century Showcard Lettering. Especially by the work of Speedball lettering artist Ross George, and also the work of Cecil Wade and Samuel Welo. Designed around 2001 by Jim Parkinson, Wigwag has recently been refreshed and re-released.

Georges Peignot designed the font Nicolas Cochin based on copper engravings of the 18th century and Charles Malin cut the typeface in 1912 for the Paris foundry Deberny & Peignot. The font is named after the French engraver Charles Nicolas Cochin (1715-1790) although its style had little to do with that of the copper artist. Nicholas Cochin is a freer variation of another Peignot font, Cochin, a bit more balanced and elegant.

ITC Kristen is the work of American designer George Ryan. He describes it as not your average text or display font." The inspiration for the design came from the handwritten menu at a neighborhood restaurant. With time, the forms moved away from the originals and towards something more like a child's scrawl. The result is singularly unique. ITC Kristen remains legible without losing any charm.

Public Notice JNL is based on a wood type alphabet originally shown in George Nesbitt’s 1838 catalog as “Gothic.” The image sample used for a model had only the basic A-Z characters, an ampersand and an exclamation point, so numbers and additional characters were designed and added to the digital version.

A highly intrincated decorative capital from the work of Johann Georg Schwandner (1716-1791). An accurate historical revival and interpretation of Iza W, at Intellecta Design. State-of-art to use in headings, chapter initials from books, magazines and other publications. Also use in baroque and renaissance inspired layouts, or modern mixed proposals.

Many great lettering examples were found in the 1939 French publication by Georges Léculier, "Modèles de Lettres Moderns" ("Models of Modern Letters"). One design in particular is a stencil alphabet so typical of the Art Deco movement of the 1930s. Artwork Stencil JNL is now available digitally in both regular and oblique versions.

The 1939 French publication “Modèles de lettres modernes par Georges Léculier” ( “Models of Modern Letters by Léculier”) presented some unique and stylized type designs with Art Deco influence. One such example is an abstract modular alphabet constructed of rectangles and circles. This is now available as Modular Deco JNL, in both regular and oblique versions.

Chub was inspired by and dedicated to: Jimmy Dean Pork Sausage, J Otto, Ben & Jerry, Spunk, Chuck Jones, Run DMC, those teenage kids with their big baggy pants, French Market coffee, George Clinton, Bill Clinton, Chistina Ricci, Sesame Street and the letter C. God bless all those big, fat, fun things that make life grand.

The hand lettered cast credits for the 1932 George Arliss film “The Man Who Played God” inspired Lobby Poster JNL, which is available in both regular and oblique versions. A bold and playful Art Deco poster alphabet, its nonconformist character widths and shapes are casual enough for informal designs yet bold enough to get any point across.

Scandals JNL is free-form hand lettering with an Art Nouveau influence showing up on a 1928 piece of sheet music for the song "American Tune", and is based on the cover text noting the song was from the popular (9th Edition) of George White's Scandals; a Broadway musical-variety show. Available in both regular and oblique versions.

Corogh Gorge is a Blackletter Font. It has gothic, mysterious, brave, classic. It’s a great font for fashion, apparel projects, signature, album cover, logo, branding, magazine, social media, & advertisements, but also works great for other projects.

Aspidistra is a modern vintage typeface; which is to say a Studio K original with a period feel: it has a strong Art Nouveau influence (a distant cousin of Arnold Bocklin). Why Aspidistra? In the first half of the last century an Aspidistra was a must have accessory of the aspiring middle classes (see George Orwell's Keep the Aspidistra Flying), and to my mind this font evokes the chintzy charm of that era.

Bill Display is a post-Max Bill font, developed in close cooperation with the Max Bill Georges Vantongerloo foundation. MAX BILL Last universal scholar, most important design teacher of the 20th century: There are superlatives, always very enthusiastic, when the importance of Max Bill is discussed. The trained silversmith studied at the Bauhaus, with personalities such as Josef Albers, Paul Klee and Oskar Schlemmer. He worked as an architect, later as sculptor and designer.

Designed by the highly regarded American designer George Ryan of the Galapagos Design Group. George is the veteran of a number of successful display fonts and there is no reason why ITC Eborg, with it's striking appearance, should not follow suit. Is it a bold casual sans serif or a disciplined brush script? Probably the former but only just. Whatever it's category though, ITC Eborg has the pedigree to become a highly successful and much sought after font. It has been carefully designed to maximize it's usage potential with conventional capitals combining well with a lowercase in which the x-height is just about right for both large display application whilst retaining good legibility at some of the smallish point sizes. ITC Eborg, with it's warm friendly qualities which are very much in evidence, and in a world where it has become so important to convey that casual approachable air," even in the most aggressive of advertising, be it product or service, it is definitely a style to fill the need."

The design for Granjon was produced at the English branch of Linotype under the direction of George William Jones and appeared in 1928. This reproduction of a Garamond typeface was based on the typeface sample of the Frankfurt font foundry Egenolff from the year 1592 . The roman characters of the sample were made by Claude Garamond and the italic forms were designed by Robert Granjon. Jones made sure that the Granjon font remained true to the original characters of Garamond and Granjon.

William Caslon established the first major English typefoundry, re-creating earlier Dutch designs with excellent craftsmanship, color and rhythm. Caslon Old Face is one of many faithful revivals; the original matrices (from many hands; the lowercase of the 48 point is Moxon’s 1669 Great Canon) survive at Stephenson Blake. George Ostrochulski adapted this design for photocomposition at Mergenthaler with skill and understanding.

Here's a handy collection of 72 type adornments gleaned from American Type Foundry catalogs from 1913 to 1934, featuring little treasures from some of the early twentieth century's most respected designers, including Will Bradley, Frederic Goudy and George Trenholm. Among the goodies are fleurons, pilcrows, guidons, bishops fingers, mortised initial frames and several other useful elements to dress up your documents.

Sequel Rounded is a post-Max Bill font, developed in close cooperation with the Max Bill Georges Vantongerloo foundation in Switzerland. MAX BILL Last universal scholar, most important design teacher of the 20th century: There are superlatives, always very enthusiastic, when the importance of Max Bill is discussed. The trained silversmith studied at the Bauhaus, with personalities such as Josef Albers, Paul Klee and Oskar Schlemmer. He worked as an architect, later as sculptor and designer.

This font is inspired by the samples of the booklet "Caligrafía inglesa" published in Madrid in the late nineteenth century by the spanish calligrapher Vicente Fernández Valliciergo. Hundred of new glyphs have been added, taking advantage of Opentype features. Ligatures, decorative figures, initials and final forms, inspired in the samples of English Calligraphy as shown in "The universal penman" by George Bickham have been added to the font. The result is Valliciergo, a font with more than 1000 glyphs, meant to be a useful tool to simulate the master strokes of the great calligraphers.

Karl Georg Hoefer’s Sho first appeared in 1992 with Linotype-Hell. The font is a part of the package Calligraphy for Print, which also contains Ruling Script and Wiesbaden Swing. Calligraphy for Print 2 completes the set. These packages offer modern calligraphy fonts particularly well-suited to use in posters, magazines and advertisements. Sho distinguishes itself in the extreme contrast between the strokes. A unique characteristic of the font is the way it uses simple round forms in some of its letters, giving it a peppy and playful feel.

Modern Caps—and lowercase, too—was how Ross George described the pattern for this typeface in his Speedball Text Book. Not surprisingly, the design was used on the Beatles' original Magical Mystery Tour album, which suggested the current name. Art Deco meets Psychedelia! Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Moldovan and Romanian.

Here's another gem from perennial Speedball penmaster Ross F. George, originally called Split Caps. George's original design has been enhanced with the addition of lowercase characters, borrowed from another of his alphabets, and adapted to the style of the caps. This font derives its name from one of the catchphrases of the estimable Stooge-in-Chief, whose signature hairdo can be found in place of the Section mark. Both versions of the font include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

XyloScript is my first script with a woodcut look to it. Still, it is very elegant. Xylo is Greek and means “wood”. This script is another one I designed in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer. I like it, your very crafty Gert Wiescher BTW if your font manager tells you that the font is corrupted, just ignore that! This script is very complex and that’s causing some font managers to say the font is corrupted. I have tested it and it works fine!

›Hi! Please note you are visiting Old Supernett. We decided to upgrade it: more styles, more glyphs, more features, more everything! View New Supernett here: Supernett 2019› Georg from FaceType Supernett – a versatile hand drawn/handmade/handwritten font – is tailored for large font sizes but also impresses with an astounding legibility in small typesettings. Supernett is fairly condensed for space-saving headlines. The extensive character set supports Central and Eastern European as well as Western European languages. Each style contains more than 4700 glyphs to let the font look real hand-made. Three OpenType features are specially created to enhance this impression, with a maximum effect when applied to big type: Alternating Letters For a truly hand-drawn look, letters and numerics alternate randomly between three different variants → activate Contextual Alternates Rotating letters All glyphs rotate randomly and slightly around their own axis → activate OpenType Swashes Varying Baseline Shift Each single glyph moves individually up or down → activate OpenType Titling Alternates More OpenType Features: Case Sensitive Forms This feature shifts various punctuation marks to a position that works better with all caps typography → It is deployed when an app’s all-caps styling is applied Slashed Zero The problem with the numeral 0 is that it can look too much like O in some typefaces. This feature replaces every zero with a slashed zero → activate Zero with a Slash Fractions Substitutes figures separated by a slash by proper fraction glyphs. A date however, written like 10/12/2013 will remain unchanged → activate Fractions Stylistic Set 03 Choose between two different styles of bullet (•) → activate Stylistic Set 03 Stylistic Set 04 Choose between two different styles of Y → activate Stylistic Set 04 View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut

Finura was inspired by American lettering from the 60s, specially the Stunt Roman for ruling pen and compass presented in the Speedball Textbook for Pen & Brush Lettering by Ross F. George, but also by looking carefully to University Roman characteristics. Finura is an experience on very thin poster typefaces and the possibilities to design extreme delicate typefaces, with plenty details, that sheer simplicity and readability to the classic forms.

Designed at ParaType in 1996-2002 by Tagir Safayev. Inspired by works of Russian Constructivists of the 1920s and 30s: Alexander Rodchenko, Varvara Stepanova, Vladimir and George Stenberg, Gustav Klutsis and others. A geometrical, caps and small caps only, sans serif design. The glyphs are formed using straight lines only. Totally simplified, this face is perceived as a symbol of Russian Avant Garde. For use in advertising and display typography.