With a hand-inked look, Panhandler flows like decorative but unfussy cursive writing. The font has automatically substituting glyphs and ligatures to avoid some of the problems other connnecting scripts encounter. It also includes a set of swash capital letters and a decorative swash ending lowercase set. Panhandler is available in the OpenType format (both flavours) and will work with on all standard platforms and software. Advanced features will require OpenType compatible software.

Konung (konge, koning, ~king) – appointed guardian who is trusted to transfer the Wisdom (Kon) to a new land. Konung is a friendly type, which is an amalgam of several writing culture. It offers re-unite originally of kindred peoples and their Outlook on life. Konung type is soft and elegant, it includes 925 glyphs, Slavic and European alphabets, over 20 Opentype features, small caps, serif and sans-serif styles and so on.

The name of this typeface is a hymn to the Stadio Olimpico in Rome. The home arena to the World's most beautiful football club – AS ROMA. A club with many great players through the years. The biggest of them all, is already a living legend… Francesco Totti. The design is a 2-weight family perfect for elegant display work. The regular weight is more even in blackness while the bold weight carry more contrast.

The Galgo is a Spanish Greyhound, an ancient hybrid breed of dog. Just like the Galgo, the letters of this font are a mix of elegant brush calligraphy and the rough, weathered strokes of speedy scrawl. Galgo Script is quite suitable for logomarks, titles, single sentences or paragraph-length artistic writing passages. Drawn by Angel Koziupa and digitized by Alejandro Paul, Galgo Script was made because of popular demand for this kind of "rush brush".

Mechanikschrift, roughly German for “mechanical writing”, is a typeface from Noah Rothschild and Victory Type. The aesthetic of this font is just what its name points towards: machine-like structure with a German flare. Minimalism is often associated with German design, and Mechanikschrift is a minimalist typeface. Furthermore, the designs of the characters, outside of the general theme of squared-off corners and angular appearance, are related to Herbert Bayer’s work at the Bauhaus.

The softening of edges in the Shabby Chic aesthetic are markers of age, warmth, authenticity and use. The charming style popular with Bohemians and artisans has a soft, relaxed and romantic feeling. Resistenza used their highly successful monolinear script Mina as the basis to explore how to recreate the spirit and charm of the Shabby Chic design style in a typeface. Drawn by hand with dry brush pen for rustic warmth and distressed edges. Shabby Chic has long connections between letters creating a visual rhythm that echoes the form and pace of gentle waves lapping at a seashore. Each character has an expressive touch, OpenType enabled alternates, for character combinations, initial and final forms allow effortless customisation, flair and a realistic handwritten-sign appearance. (The alternates are accessible by turning on 'Stylistic Alternates' and 'Ligatures' buttons on in Photoshop's Character panel, or via any software with a glyphs panel, e.g. Adobe, Quark...etc) Introduce some rustic romance to your font library. Shabby Chic is perfect for cards, invitations, labels and logos where you want to convey intimate, friendly, warm and genuine sentiment.

CHARACTERISTICS A state-of-the-art OpenType-Feature (like Contextual Alternates (calt) and Stylistic Alternates (salt)) of “Hand Scribble Sketch Times” is, that each uppercase and each lowercase letter has automatically alternated two variations to bring humanly-random characteristics of handwriting to life. The cha­rac­ter of the rough, ruggend and raw hand­written classic serif type­face is a very uni­que warmly atmosphere. An pro-version of the font “Hand TIMES”. APPLICATION AREA warmth, love, handmade. For support of human warmth. Of cooking recipes, menus in the restaurant across party flyer, music cover Art to logo (word marks), headings in magazines and websites. TECHNICAL SPECIFICATIONS ? Font Name: Hand Scribble Sketch Times ? Font Weights: Regu­lar, Rough, Invert ? Font Cate­gory: Grunge Serif Dis­play for Head­line Size ? Font For­mat: OTF (Open­Type Font for Mac + Win) ? Glyph cover­age: 601 ? Lan­guage Sup­port: Basic Latin/English let­ters, Cen­tral Europe, West Euro­pean diacri­tics, Bal­tic, Roma­nian, Tur­kish ? Spe­cials: Alter­na­tive let­ters, Standard & Discretionary Ligatures, extras like sym­bols, ding­bats, Old-style Digits, Lining Figures, accents & €, incl. OpenType-Features like Con­text­ual Alter­na­tes (calt), Glyph Composition/Decomposition (ccmp), Dis­cre­tio­nary Liga­tures (dlig), Kerning (kern), Stan­dard Liga­tures (liga), Nume­ra­tors (onum), Ordi­nals (ordn), Sty­listic Alter­na­tes (salt), Stylistic Set 01 (ss01), Stylistic Set 02 (ss02), Stylistic Set 03 (ss03), Slas­hed Zero (zero), Lining Figures (lnum), Tabular Figures (tnum), Old Style Figures (onum), Proportional Figures (pnum) ? Design Date: 2013 ? Type Desi­gner: Manuel Vier­gutz

Father's Day, or June 17 of this year, is in the middle of Argentinian winter. And like people do on wintery Sunday mornings, I was bundled up in bed with too many covers, pillows and comforters. Feeling good and not thinking about anything in particular, Father's Day was nowhere in the vicinity of my mind. My eleven year old son, Matías, came into the room with a handmade present for me. Up to this point, my Father's Day gift history was nothing unusual. Books, socks, hand-painted wooden spoons, the kind of thing any father would expect from his pre-teen son. So you can understand when I say I was bracing myself to fake excitement at my son's present. But this Father's Day was special. I didn't have to fake excitement. I was in fact excited beyond my own belief. Matí's handmade present was a complete alphabet drawn on an A4 paper. Grungy, childish, and sweeter than a ton of honey. He'd spent days making it, three-dimensioning the letters, wiggle-shadowing them. Incredible. A common annoyance for graphic designers is explaining to people, even those close to them, what they do for a living. You have to somehow make it understandable that you are a visual communicator, not an artist. Part of the problem is the fact that "graphic designer" and "visual communicator" are just not in the dictionary of standard professions out there. If you're a plumber, you can wrap all the duties of your job with 3.5 words: I'm a plumber. If you're a graphic designer, no wrapper, 3.5 or 300 words, will ever cover it. I've spent many hours throughout the years explaining to my own family and friends what I do for a living, but most of them still come back and ask what it is exactly that I do for dough. When you're a type designer, that problem magnifies itself considerably. When someone asks you what you do for a living, you start looking for the nearest exit, but none of the ones you can find is any good. All the one-line descriptions are vague, and every single one of them queues a long, one-sided conversation that usually ends with someone getting too drunk listening, or too tired of talking. Now imagine being a type designer, with a curious eleven year old son. The kid is curious as to why daddy keeps writing huge letters on the computer screen. Let's go play some ball, dad. As soon as I finish working, son. He looks over my shoulder and sees a big twirly H on the screen. To him it looks like a game, like I'm not working. And I have to explain it to him again. This Father's Day, my son gave me the one present that tells me he finally understands what I do for a living. Perhaps he is even comfortable with it, or curious enough about that he wants to try it out himself. Either way, it was the happiest Father's Day I've ever had, and I'm prouder of my son than of everything else I've done in my life. This is Matí's font. I hope you find it useful.

This slick, marker style font was created by our fontmeister, Mr Fontastic, based on the slick, marker style of... Well, Mr Fontastic himself! Check it out in the pages of Marvel's classic DAREDEVIL story GUARDIAN DEVIL. DD scribe and indy movie maker Kevin Smith himself told us it was the coolest font he'd ever seen in his entire life! No, sorry, that is a lie, but he did tell us he liked the design work Mr Fontastic created for the JAY & SILENT BOB trades, No, seriously, he did. We wouldn't lie to you. Well, except for that last time. By the way, this font also doubles as a dynamite sound effect font, that's why we're charging you twice as much as usual. No, sorry, lying again. About the price, not the sound effect thing.

Old style fonts or also writing from teenagers, as a form of expression for those who are bored or looking for cool and creative ideas by drawing something accompanied by writing.

Whiplash is a natural handwritten font with firm strokes as the main character. All-caps and mixed-match are the main concepts of this font, where the uppercase and lowercase can be pair according to your taste. This font has a very strong and very prominent character that will distract the eyes. This is a great choice when used as a title on banners, posters, book titles and even magazine covers. Modern lifestyle brands such as fashion, cosmetics, and outdoor sports are also a trend to use this font style. You who like travelling can also try to write a caption or quote, people are increasingly curious about the mystery of your adventure and short notes. Besides being equipped with multi-language, we also equip ligature such as ee, ll, gg, oo, ss, tt, pp, rr. Enjoy our fonts, and make sure your brand will stand out and invite people to take a closer look.

Raclette grills are an ingenious Swiss invention. This tabletop grill is used to cook raclette cheese, a unique sort of cheese produced by the happy cows of Valais. Swiss designer Michael Parson created a typeface in 2002 that speaks endearingly to his hearty homeland tradition - endearingly enough, he named it Raclette. Raclette most likely started out as a bold, condensed sans serif. But then, just as one pulls little trays off of a raclette grill, Parsons quickly removed many rectilinear bits from the edges of each letter. Text set in Raclette looks like an old brick wall, or perhaps like a raclette party for several hundred people, that ended an hour ago! Raclette is one of ten of Michael Parson's experiments in type design featured in the Take Type 5 collection from Linotype GmbH."

The name ‘Linkus’ makes reference to the internet and its power to unite humanity, as well as to Linkus’ distinctive design, where the whole character is unified by a single, unbroken line – without sacrificing its elegance and readability. Linkus is based on the aesthetic decision of having a single, unsplit line forming every character, with a smooth transition of the different line directions, in order to strenghten the unity of form and create a singular fluxus throughout the glyph. Different from most other futuristic fonts (e.g. Slazer), who have an aggressive look, Linkus has a more sensible, refined aura. This display futuristic typeface is meant to be used whenever the subject is technology, cellphones, electronics, internet, computers or science in general, as Linkus creates a feeling of modernity, cleanness, efficiency and high-tech sophistication.

Rex Stephane, designed by Mans Greback, is a striking blackletter font that artfully blends medieval influences with modern geometric shapes. Inspired by the tall stature of Gothic architecture, merged with sharpened edges, this font captures the essence of strict ruling while having an elegance of the Middle Ages. First imagined while exploring an abandoned castle, the typeface is based on ancient manuscripts adorned with calligraphic lettering. These texts became the foundation for Rex Stephane, as Mans Greback aimed to recreate the rich history and grandeur of the medieval era while adding his own contemporary twist. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Mans Greback is a Swedish typeface designer with a passion for creating unique and versatile fonts. With an extensive background in design and typography, Mans has built a reputation for his meticulous attention to detail and prolific craftsmanship. His many fonts are widely used by designers around the world, making his work synonymous with creativity and innovation.

ResotE-Pastels family was created inspired by the poetry of natural colors: the elegance of Pearls, the freshness of Mint, romanticism of Lavender and Cherry Blossom. Fully vector color Letters allow you to create any size headers, banners or advertising slogans. Because of the predefined pastel colors, of course, fonts work best on darker backgrounds. Automatic contextual alternates and ligatures built into the fonts compensate for whitespace area differences. Normal OTF ResotE (AllCaps) font is included in the package, which allows you to create text in smaller sizes in style of the ResotE family. Technical info to use: The package contains 6 color font variants in OpenTypeSVG TTF format and a normal TTF font in Black White. To be able to use the color files you need to have installed Adobe Photoshop CC2017, Adobe Illustrator CC2018, Mozilla Fire­fox or Microsoft Edge.

How can we possibly call our line of celebrity fonts the MASTERS OF COMIC BOOK ART if it doesn't include a font based on the remarkable work of comic’s renaissance gentleman, artist/writer/colorist/letterer, Dave Gibbons?! Based on Dave’s easy-on-the-eye hand lettering, this is the font Dave himself uses to letter projects such as STAR WARS: VADER'S QUEST, MARTHA WASHINGTON & BATMAN: BLACK & WHITE. Other guys may imitate him, but the original is still the greatest! Get in with the In Crowd and check out the font created by Mister Fontastic for Dave Gibbons Original Graphic Novel, The, ah, The Originals. Yes, Dave Gibbons now comes in lower case, it’s not just what he does when he gets back from the off license. Be sure and pick up The Originals from Amazon -- now available in paperback, and probably still available as a hard case, much like Dave. After the crack about the beer above, I'm guessing you'll find me with a broken spine in the remainder pile. See the family related to Dave Gibbons: Dave Gibbons Journal & Dave Gibbons Lower .

ITC Astro is the typeface that proves you can get your work done while watching cartoons. “It all started as a series of doodles while I was watching The Jetsons,” recalls Sasa Petricic. “The show's impossibly simplistic vision of the twenty-first century cried out for a font that fit into that world -- a world where everyday objects can carry far more fun and personality than they should.” ITC Astro is the first commercial typeface design from Petricic, whose “day job” is working as a reporter for the Canadian Broadcasting Corporation. Petricic has filed stories from across Canada and around the world for CBC's flagship evening newscast, The National. His reports have also appeared on CNN and BBC Television. Petricic's work as a correspondent and video journalist have taken him to six continents, covering everything from famine and genocide in Africa to the war in Iraq. With such serious matters filling the hours of Petricic's day as a journalist, it's not hard to see why he conceived Astro as a welcome blast of whimsy. “As I began to draw the design,” he says, “I decided that every part of Astro should be a cartoon character unto itself.” Each character has its own baseline shadow (or coaster, or circular antigravity generator, depending on how you look at things). The angular caps dance jauntily, rocking from left to right, while a suite of companion small caps provide backup. The end result is a design quite unlike any other, with surprising charm and versatility. ITC Astro comes in a two-weight family of White and Black.

Beverly Hills is an all-caps display face in the Art Deco style. Its design features dramatically low crossbars, and each letter has a fine inline highlight. The most prominent letters in this typeface are clearly the E, F, G, and K, while the elegantly narrow S is sure to delight. A classy offering like Beverly Hills should only be set very large, either as a magazine headline, a store sign, or on the cover of a fine invitation. If you like Beverly Hills, you make enjoy other high-contrast Art Deco designs in Linotype's library, including ITC Anna, Avenida, Broadway, Jazz, and ITC Manhattan.

Jan Regular combines an experimental, bold, mono-weight geometric sans serif with the Arabic writing system's means of joining letters. Adding in script-like letter connections, a feature that is found in both western cursive and Arabic type, as well as distinctly Arabic-like accents above and below certain letters, Michael Parsons has created a cross cultural typographic statement. Jan Regular is best used for headlines, and small strings of text, in sizes large enough to view and appreciate the unique counter forms within the letters. This font is one of 10 creations from the young Swiss designer Michael Parson included in the Take Type 5 collection, from Linotype GmbH."

The New Lanzelott is a brand new Version of an old Font of me called Lanzelott. The new Version get more curves and round Glyphes, it get more Soul. The Serif - Versions are shorter but more exactly. Every Font comes with many Open-type-features and Handmade Kerning. I like the old Version but this much better, much beautyfuller. All Fonts come with the German new big sharp S and a smaler sharp S and the normal sharp S. I you Write SS and want the big sharp S, you have only to make it with the Ligatur-Feature I hope you ll like it...

Macha shares the same DNA as its sibling Anago, but is a completely different species than the former or any of my other sans serifs (Aaux Next, Air, Akagi Pro or Wasabi). It's no-nonsense construction bears many influences from Gill Sans and Frutiger while stubbornly blending my own humanist touch. The focus on developing Macha was just to get to the point with each letterform and discard the rest. Macha takes a little but gives a lot. A fully-loaded character set includes: Small Caps, Proportional Lining and Oldstyle Numerals, Tabular Lining and Oldstyle Numerals, Fractions, Ordinals, Inferiors, Superiors, Stylistic Alternates, Ligatures, Case-sensitive, and more.

Choir is a modern sans serif font. Each letter consists of three combined lines that connect together like a maze. This font is suitable for logos, business cards, magazines header, Flyer Titles, or large-scale oven artworks.

Roquette is the work of British designer Martin Wait, a casual all capital wedge serif typeface which brings the 1950s back to life. The undulating baseline and lively spot illustrations of Roquette will pep up any headline.

Beat Poet JNL is a throwback to the late 50s and early 60s when Beatniks hung out at coffee houses to listen to poetry and folk songs and live the Bohemian lifestyle of the Pre-Hippie generation.

FF Sizmo™ is available in two flavors. One is an honest, industrial strength, somewhat condensed, sans serif family. The other builds on the first, and is a display design with horizontally connecting baseline strokes. The five weights of basic the FF Sizmo typefaces are ideal for print and digital projects. Character spacing is generous, counters are open and apertures are wide and clear. Banners, navigational links, sub heads, and short blocks of contextual copy are natural on-screen uses for the design. Print projects from branding to way-finding also fall easily into FF Sizmo’s range of applications. The “line” versions of FF Sizmo can be arresting stand-alone typefaces – or distinctive complements to the basic roman and italic designs. In either instance, the line designs make powerful statements in headlines, subheads, posters and cover art. OpenType® fonts automatically insert beginning, middle or ending line element characters into the copy. Drawn by Verena Gerlach, both designs were inspired by the same source, a commercial signage system that enabled quick and easy copy changes. “The idea for the typeface,” explains Gerlach, “is a housing complex index board, on which movable white plastic capital letters were fixed by a thick line to the wooden board. This line is an important part of the font’s appearance.”

Treatise was born in a notebook at the back of a boring lecture on immunology with the simple thought of “How can I make a serif more fun?” When writing a scientific treatise, there are not many options for making it enjoyable. However, some little quirks and fun features in the font can take the serious edge off the writing.... Treatise is a light and open serif with some design quirks, which give it a slightly calligraphic feel; a single -storey “a” and “g,” a visible stroke mark on the “o,” and a curved arm on the “k.” These features are subtle enough to fit into a paragraph of text but bold enough to give a title some character. The Treatise family includes a true italic and a heavy-struck style bold, and several OpenType features; standard and discretional ligatures, contextual alternatives, and different figure styles. The character coverage includes Basic Latin, Latin-1 Supplement, and Latin Extended-A and will support most Latin-alphabet languages, including languages with more exotic characters such as Icelandic and Maltese.

The Greek font started from an experiment with designing fonts based on a geometric grid. I joined the points on the grid with straight lines to form the various characters and found that this resulted in a font that closely resembled Greek writing (derived from inscriptions carved in stone) of ancient times. I continued to develop this theme but I now accentuated the look and feel of Greek writing. The three styles shown are the results of this development. I did not kern or letterspace the individual letters since this would have been out of character with the orignal Greek writing. This means that the font is mono-spaced. At a later stage I may produce more refined and "modern" versions of these fonts. Surprisingly, the Greek SCF styles are very readable. The font is fully professional in terms of its character set. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). In fact, it has all the accented characters used in the major European languages.

Baby Boss was inspired by the writing style of my brother who focused on learning to write and read. This font works well for children themed uses and has multi-lingual support.

Kalexa, a name inspired by the fusion of kaleidoscope and hexagon, is a modern typeface created from geometric lines based on the hexagon's shape. It draws inspiration from low poly and heavy industrial typefaces, reflecting modernity, simplicity, and power. With its sleek and minimalist design, Kalexa emerges as a disruptive force. Thanks to its 6 font weights, it is highly versatile, making it suitable for a myriad of projects across various themes, ranging from sports designs and industrial brands to technology projects. It adheres to the trend of bold and unconventional shapes while maintaining excellent readability. Available in a variable version for precise control over font weights, Kalexa unlocks endless possibilities for designers to craft captivating visual experiences. Each line becomes a brush of creativity, walking the line to new frontiers of design expression.

EquipExtended is the next complement for the Equip family and with its 16 fonts together with EquipCondensed, it extends the family to 48 styles. While developed from the same basic shape as the rest of the Equip family, it has its own particular friendly and warm appearance. With its wide and open proportions, EquipExtended makes a grand entrance for your headlines, subheads and even for the body of text. Try it out, the light style is free. EquipExtended is very well suited for ambitious typography. The EquipExtended family comes in OpenType format with extended language support. All weights contain semi-ligatures (design optimized single characters), proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and arrows.

Fabrikat Mono is a type family designed by Christoph Koeberlin. The monospaced Sans Serif family is published by HVD Fonts and consists of seven weights plus matching italics. It is an addition to the popular Fabrikat type family that emphasises its engineering roots. Compared to Fabrikat, the Mono version evens out not only the characters’ variable widths but also its more subtle characteristics: Letters like B and R are counterbalanced, the height difference between caps, ascenders and even “t” are eliminated, while characters like the percent sign together with the stressed punctuation give a nod to typewriter typefaces. The type family is equipped for complex, professional typography with OpenType Features like alternate letters, arrows and an extended character set to support Central and Eastern European as well as Western European Languages.

Cala is a reflection of Venetian Renaissance types but with a contemporary look. It has an energetic profile, achieved through soft outlines and a flowing rhythm. It is lively, remains stable in small sizes and is beautiful in display sizes. Cala comes in eight styles, in OpenType format and with extended language support. All weights contain standard and discretional ligatures, small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

stajn-type.com — Stajn Pro Type Family Website where you can get DEMO version of Stajn Pro Book Stajn Pro was designed upon a main goal of using this typeface to set larger amount of text. The slightly condensed proportion allows for more content per page while large x height with its larger counters improves legibility and readability while used on smaller sizes. Despite the fact that Stajn Pro was designed as a body text Type Family, it works as well as a display too. Wide variety of weights as well as interesting, strong and at the same time beautiful character along with some stylistic alternate makes Stajn Pro a useful typeface in a field of editorial, magazine and promotional materials design. The Stajn Pro character includes some humanistic typeface characteristics, which add some softness and elegance in its strong and stable presence. More information about development, usage and characteristics of a Stajn Pro Type Family at stajn-type.com If you have any other questions please do not hesitate to write me at info@stajn-type.com