Description: Step into the hauntingly nostalgic world of 80s horror films with 'Graveyard Wind' a meticulously handcrafted font that channels the chilling essence of vintage movie posters. This font will infuse your designs with the eerie charm and crafty appeal you've been seeking. What Awaits You: Unique Font: 'Graveyard Wind' boasts meticulously designed letters, numbers, and additional characters inspired by the spine-tingling aesthetics of the 80s. Multilingual Mastery: Your audience knows no bounds with our font, offering complete multilingual support. Why 'Graveyard Wind' is the Choice for You: Recreate the authentic atmosphere of vintage horror films with this unique font. Elevate your poster designs, t-shirt graphics, and logos with an unmistakable crafty touch. Seamlessly adapt to different projects with multilingual support and versatile font formats. Seize this opportunity to infuse your designs with the spirit of the 80s. Download 'Graveyard Wind' now and start creating captivating visuals.

The story of Serena is a unique one among revivals. Serena was neither a metal face nor a film one. In fact it never went anywhere beyond Stefan Schlesinger’s 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger’s Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger’s brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger’s spirit as closely as the drawings permit, and elaborately expands the work to cover a multitude of codepages and languages. It took more than 65 years for Schlesinger’s drawings to see the light, so van Maanen made sure to bring them to life stylishly and respectfully. Serena embodies the peace and calm rarely ever found in mainstream calligraphy or other genres of display type. With upright elegance and a slight Eastern touch, this typeface expertly bridges the gracefully casual with the deeply spiritual. The light and soft letter forms add a pleasant, breezy element to anything they touch. When used sparingly in titling or display, Serena is like a sigh of desire, rare but quite memorable and very appreciated.

In the history of 20th century graphic arts, the evolution of the informal sans serif has been a uniquely American phenomenon. The ongoing saga of this (still as popular as ever) sub-genre dates back to the maturity of the Industrial Age and early Hollywood film titling, runs through the prosperous times of interwar print publications, sees mass flourishing during the various media propagations of the film type era, and solidifies itself as arguably the most common design element in the latter years of the century. Fun, bouncy, playful, and highly exciting, the casual sans serif is now all over game packaging, film and animation titles, book covers, food boxes, concert posters, and pretty much everywhere design aims to induce excitement about a product or an event. The casual sans is the natural high pill of typesetting. We figured it was high time for the casual sans to adapt to 21st century technology, gain more versatility, and become as much fun to use as the emotions it triggers. So we’re quite excited to issue Bananas, a fun sans serif family in 6 weights and 3 widths that can be used anywhere your designer’s imagination can take you. Rather than being based on a single design, Bananas was sourced from multiple American film era faces, all from 1950s and 1960s, when the casual sans genre was at its popular peak. Headliners’ Catalina and its very similar cousin, Letter Graphics’ Carmel, served as initial study points. Then a few Dave West designs informed the design development and weighting process, before narrow and wide takes were sketched out and included in the family. The entire development process happened in a highly precise interpolative environment. All Bananas fonts come with a full glyph complement supporting the majority of Latin languages, as well as five sets of figures, automatic fractions, quite a few ligatures, biform/unicase shapes and other stylistic alternates.

Roicamonta font looks very feminine and delicate. Perfect fit for invitations, greeting cards and other printing where soft and elegant writitng is required. The design stems from Copperplate calligraphy and comes in two styles - upright and italic. This family consists of six font files overall, each file contains over 1200 glyphs. Complete with variety of swashes and fancy ligatures. All engineered and included in handy otf format.

A bold, friendly, impactful typeface. Ideal for filling with graphics and textures and layering with other type. Named in reference to the generously proportioned Alfred Hitchcock (born in Leytonstone). Leyton was designed to be as fat and punchy as possible without losing legibility. Each character fills up the space – throwing away counters in the process. Discounts available for certain projects – particularly charities and students.

Return Pass JNL is the solid version of Forward Passed JNL and can be used as a standalone font or in combination with Return Pass Fill JNL (the inline version with the main letters stripped away) for a dual color design. In some applications the inline fill may appear to create a cast shadow effect, so it may be necessary to manually adjust any overlaid copy.

Honolulu is a cute hand-drawn font with four variations: - Regular, filled, sans and sans filled - Plus jumpy versions of each font (accessed by activating contextual alternates). Each font includes: - Two sets of caps - Numbers and punctuation - Multilingual support Fresh and perfect for the summer, in any design that needs a bold hand-drawn feel, such as postcards, notes and quotes, logos and branding.

Sigwald is born from bold and fun style fonts. That's available on other file from letter A-Z and a-z. Versatile for design poster, logo, branding, label, quote, headline profil, banner, t-shirt design, packaging, magazine, brochure, and many more your amazing work with this fonts. Features: - Included file: Sigwald Regular (OTF) - Simple installation - Support for MAC and PC - PUA encoded - Stylistic Alternates

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. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. TessieMoreStuff contains mostly Escher-like tessellations with no clear organizing principle. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (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.)

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. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. TessieMoreStuff contains mostly Escher-like tessellations with no clear organizing principle. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (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.)

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. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. Most of the shapes contained in TessieMiscellaneous are Escher-like tessellations. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (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.)

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. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains many Escher-like tessellations that resemble animals including horses, goats, rabbits, fish, frogs, and other vertebrates. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, coloring books, and a book about tessellations. (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.)

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. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains many Escher-like tessellations that resemble flying birds. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (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.)

Max Salzmann’s blackletter font released by Schelter & Giesecke in 1912 revived and spiced up with some beautiful filling and framing ornaments.

Northunder (Nor/Thunder) Rough is a vintage style font with a powerful presence. It can be used as an excellent display font as it possesses a unique serif style combination of slab serif and serif that create sharp points that really give the font its character. The slab serif elements help give the characters a strong look and balance across the font. The font includes uppercase, lowercase, number, international Latin letters and punctuation.

The Oslo Stitch is a technique used in Nålebinding, a kind of fabric creation predating knitting and crochet. I have no particular interest in Nålebinding (nor in knitting), but I needed a name with ‘stitch’ in it and this is what I found! Oslo Stitch font is a nice, handmade, all caps font, which you can use for your book covers, posters and anything else that needs a bit of stitching up.

Northunder (Nor/Thunder) is a vintage style font with a powerful presence. It can be used as an excellent display font as it possesses a unique serif style combination of slab serif and serif that create sharp points that really give the font its character. The slab serif elements help give the characters a strong look and balance across the font. The font includes uppercase, lowercase, number, international (basic Latin) letters and punctuation.

Conamore is a new Humanist Sans family. It consists of 16 styles (8 weights and 8 italics). The structure of the typeface is in a position that is neither too modern nor too classic. It was based on humanist frame and style, but we controlled the shape and removed potential eyesores so it can be easily recognized. These characteristics are suitable for the design requirements, such as editorial design, packaging, branding and display.

Static looks almost like it was stamped on paper: the black color is not evenly distributed and the background comes through the letters and consciously irregular forms reinforce the effect. The characters do not all have the same height, nor do they stand straight and regularly on the base line. Static is a robust font with bold, rounded serifs and is best used for headlines and short texts in point sizes of 12 and larger.

“The modest Rose puts forth a Thorn. The humble Sheep a threat’ning Horn. While Lily white shall in love delight. Nor a Thorn nor a threat stain her beauty bright.” ― William Blake Are you looking for a way to enhance your copy? Introducing Lilium Star - A Modern Handwritten Font. With every hand-drawn stroke and curve, Lilium Star will delight and add brightness, modernity and elegance to wherever it is placed. Impress your wedding guests with gorgeous invitations using Lilium Star. Why not create more engaging content and inspire your audience and clients? This Modern Handwritten font is also perfect for headings, logos, business cards, printed quotes, cards, packaging, and your website or social media branding. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work.

ULGA Grid Rounded is the smooth, rounded sibling of ULGA Grid and ULGA Grid Solid. The typeface consists of three weights, regular, medium and bold, with corresponding oblique styles. Every character in the extended ULGA Grid family shares the same width. ULGA Grid Rounded features a rounded square design, giving this typeface a soft, yet sturdy appearance. A contradictory mix of stiffness and suppleness, characters slide around like lead-filled snakes trying to find their way through a maze. If this typeface were a snack, it would be a smooth, chocolatey treat - too much of it and you’ll feel dizzy and a bit sick. But, hey, I’m not your dad, do what you want. Learn from your mistakes, that’s what I say. A versatile display typeface that can be used for a wide range of purposes including CD covers, posters, packaging, advertising, name badges for robots, brochures and film titles. Mix and match with ULGA Grid and ULGA Grid Solid, use the alternatives, sneak in an oblique style to spice things up, but most of all this is a fun typeface family. The character set supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

Neo Latina is a classic sans serif typography in small caps of square proportions and rectilinear character with the ends of the rounded horns and a semi-stencil design that gives a futuristic aspect and of science fiction. Neo Latina is the right heiress of geometric fonts from the early 20th century inspired by the Bauhaus school and is specially designed for use in any size for both screen and print. Neo Latina is a very versatile typography for graphic design, you can use it in advertising posters, video games, film titles, logos, editorial design, etc. The Commercial version includes: - Two fonts: Regular & Bold - 460 glyphs. Latin Extended-A • OTF & TTF - Neo Latina fonts can be used unlimited for both Commercial and Personal projects. - The download file includes a PDF with the specimen sheet of typography. - OpenType features compatible with: Photoshop, Illustrator, QuarkXpress, Indesign. - OpenType Features: Subscript, Additional languages, Alternate Annotation Forms, Capital Spacing, Denominators, All Alternates, Oldstyle Figures, Superscript, Superiors, Superior letters, Standard Ligatures, Kerning, Extended Fractions, Small Capitals, Historical Forms, Inferiors, Fractions, Localized Forms, Numerators, Ordinals, Discretionary Ligatures, Scientific Inferiors, Slashed Zero. - Bitcoin & Chaos symbol: b# - a#(ligatures)

Sometimes the ugliest pets can be the cutest ones. And the dirtiest fonts can be the most charming ones. Like CA Smut which comes in two styles that can be stacked on top of each other. “Regular” is the shadow, while “Fill” is the filling. Create little masterpieces by playing with different colors, offset or deviating tracking. You can even try to use the “Fill” style on its own, but do so at you own risk. The spacing and kerning is optimized for the use with “Regular”, so be open minded for surprising results. If you ever had the intention to design a horror movie poster, there’s no way around CA Smut.

Introducing a vintage rough font set "Rusted Bevel". It includes three font files for combining and easy recoloring a textured bevelled effect.

We have created this family as a complement to 1906 French News since the two type families were commonly in use in the same publications, including newspapers, popular books, calendars, almanacs and posters. This font, as its name suggests, was mainly used for titlings and subtitles. Small caps, included in the single file of the TTF and OTF versions, are added as a separate file in the MacTT version.

Op-art never looked so good. Taking a cue from the popularity in the 1970s of deco Prismas and their related contemporary interpretations, this geometric font updates the trend. Overlap text in different colours or black and white for eye-teasing moiré combinations. An image above illustrates the use of Dazzle Underprint, a uniform-width version of the font that is placed under Dazzle and used to create two-colour effects simply and easily. Dazzle Underprint is not intended for solo use, only as an underprint — please see Dazzle Unicase for a range of undecorated weights.

Sheet music featuring a song from the 1933 film "Torch Singer" starring Claudette Colbert was the basis for Dine and Dance JNL. A multi-line Art Deco design, it epitomizes both the typographic style and the night life of the time, when supper clubs featuring big bands were at their peak. Torch Singers were female vocalists who typically sang melancholy love songs of lost love and heartbreak.

Loving Astrid is a new, fresh, sweet, and unique handcrafted font. It's ideal for branding and decorating your projects. Loving Astrid font has a classy and modern look that can be used for logos, branding, invitations, posters, advertisements, stationery, animated films, social media posts, youtube channel, and much more! It is PUA coded, which means you can easily access all the glyphs and sweeps!

The Valikan font is a simple, neat handwritten font with a rough smooth styled character. With smooth, rough strokes giving this font a distinctive style, Valikan is perfect for book covers and horror films as well as for branding projects, horror and haunted themed poster designs, and because this font comes with a neat brush, this font is also suitable for design any background

Comet Hotspur - Display Typeface Font is a bold and distinctive font that seamlessly blends modern and retro aesthetics. With its unique character shapes, bold strokes, and alternative letterforms, this font offers a captivating typographic solution. The font exudes a retro bold and vintage vibe while maintaining a fresh and contemporary edge. Whether you're creating logos, branding materials, titles, posters, film graphics, cards, quotes, or landing page titles.

Ironwood is an Adobe Originals typeface designed by Joy Redick in 1990. Ironwood font is a homage to the old woodtypes made popular by the wanted posters in Western films. Adrian Frutiger designed his typeface Westside with the same idea in mind. Ironwood font is reminiscent of the Wild West and its shoot-out heroes, and its robust figures are particularly good for headlines.

Hello Easteria is a new, fresh, sweet, and unique handcrafted font. It's ideal for branding and decorating your projects. Hello Easteria font has a classy and modern look that can be used for logos, branding, easter, invitations, posters, advertisements, stationery, animated films, social media posts, youtube channel, and much more! It is PUA coded which means you can access all the glyphs and sweeps easily!

“The Film Daily” issue for August 30, 1927 ran an ad for Tiffany Pictures in which all of the main text was hand lettered in a sans serif style displaying the beginnings of the Art Deco movement. With their rounded terminals, the characters were designed using a round nib lettering pen. Redrawn digitally as Silent Cinema JNL, it is now available in both regular and oblique versions.

Designed originally for the BBC's listings magazine "Radio Times", this dingbat font has been extended to include the US rating as well as the UK ones and a selection of symbols for use on DVD film packaging and satellite listings. The font used is Paralucent, and an ideal accompaniment. Note: the icon for sexual content comes in two versions, one with genitalia and one without.

German type designer Ole Schäfer created this display FontFont in 1995. The family has 6 weights, ranging from Regular to Bold and is ideally suited for film and tv, editorial and publishing as well as poster and billboards. FF Scribble provides advanced typographical support with features such as ligatures, small capitals, and case-sensitive forms. It comes with proportional oldstyle and proportional lining figures.

Bugleboy started as a digitized version of "Wood Grotesk," a 1970s film typeface by LetterGraphics. It started with a bare bones character set which we added swash alternates for Capitals, Stylistic Alternates for a Unicase look, and crafted a Sans version without serifs. The Sans style lacks swashes but keeps Stylistic Alternate Unicase forms. See the last graphic for a comprehensive character map preview.

Habbly is a handwritten brush pen font with smooth ligatures and alternates which makes it look more realistic and natural. The font has a slight bold feeling. In order to get the most out of this typeface be sure to use a program that has opentype capabilities. Suitable for wedding invitations, coffee packages, badges, logos, apparel, stationery, magazines, letterpress, film, books and many others.