Main Street is a revival of the old font Soutache, the original version of this decorative alphabet was created in 1873 by Julius Herriet, a type designer active during the period marked by the Western expansion. Main Street with its split serifs and ornate scrollwork reflects the romantic splendor of the old west from fancy garb and Cowboy Saddles to Ice Cream Parlors and painted window signage. Main Street goes one step further by creating a base fill font which can be placed behind the regular Main Street font giving this font more of an inline appearance. You will need an application that allows layering of your fonts in order to take advantage of FontMesa Fill fonts.

Piercing is part of a series of typographic experiments from the young Swiss designer Michael Parson. In the Piercing family, which contains three separate weights, Parson has successfully transformed the movements of points and lines into a fabulous display of alphabets. But you can use Piercing as your key to the techno scene: these letters, made up of fine lines terminated by dots, virtually groove with the beat as you set them in text. Like a musical score, they provide a fantastic look just right for your next flyer. Piercing is one of ten experiments in constructed letter design that Parson has included in the Take Type 5 collection from Linotype GmbH."

Cloister Initials™ have become FontHaus's most popular decorative initials font since we began selling it in 1993. First released in 1919 for ATF, Goudy's "Cloister Initials", sometimes called Goudy Initials is recognized as "one of the most beautifully designed set of initials ever made". We agree. Our digital revival is historically accurate because it was referenced from the actual ATF 144-point brass matrices acquired at the now legendary and final ATF auction in Elizabeth, New Jersey in 1993. The exquisite design of each character inspire it's use. Perfect for holiday invitations, elegant note pads, as drop caps or in period design. We've even sold these initials for use as company logos.

Falstaff first appeared with Monotype in 1931, an alphabet in the style of a wide, bold antiqua that was especially popular in the first third of the 19th century. Such typefaces distinguished themselves through their consistent basis in the transitional antiqua style. They are characterized by their extremely fine unflexed serifs with no curve connecting them to the thick strokes. The numerals with their generous curves and ball-like stroke endings and beginnings are particularly decorative. The vertical strokes are dominant and give lines of this typeface a column-like and therefore static look. Falstaff is today often used for book titling, especially for mystery novels. It is best used sparingly in middle and larger point sizes.

Mina Chic is fresh, elegant and sexy. She was raised by the french riviera sun, loves watching Nouvelle Vague films and adores french pop divas from the 60´s. She wants to be a star! Mina Chicis a new version of one of our most popular scripts,Mina. We added some expansion on the strokes reminding of a pointed nib pen writing and kept the long connections and smooth swashes to preserve the elegance and simplicity of that classic style. This typeface contains 515 glyphs, swashes, ligatures, alternates, final forms and initial forms and offers a wide range of flexibility with its many Opentype features! Mina Chic Extra has an extra thicker strokes who gives more weight to Mina.

It seems that after the 1960s, very few display typefaces were being produced that had the desirability to transcend generations, as did many type designs of the past. In 1970, a local television station embraced a lettering style for its logo that was a cross between round point pen nib lettering and the modular, techno look complete with squared characters in a futuristic "space age" style. News Crew JNL was inspired by the few examples found of this particular font [in use by the station at the time] and was pretty much created from scratch in order to capture the 1970s era of experimental typography. It is available in both regular and oblique versions.

Cartes has a bit of a strange origin story, as far as fonts go. It’s a combination of ideas from 1920’s advertising and hand-painted letters from the 1500s. The typeface was designed to flow with elegance and speed yet retain a sense of the handmade. The serifs flow with indentations implying movement and terminate with inky globules that lend your copy a sense of gravitas. This typeface can be used for headlines, short texts, posters, logos, headlines, headlines in big sizes or just as easily for ad text. At large sizes, pen strokes can be seen that give the typeface a touch of humanity and vigor. At smaller sizes the type is still unique, but readable.

Zombie Punks - The Retro Horror Video Font Introducing the first in a range of new font designs inspired by 80s VHS covers and the nostalgic video rental store experience. Starting off with a classic horror flavour, Zombie Punks is a grungy, hand-drawn brush font supplied in two styles with additional underlines and paint spills. The perfect choice for use on movie posters and trailers, album covers, books and much more. This all-caps design features punctuation, numerals and language support along with an alternative set of characters ensuring that you’ll never have to repeat your e’s or t’s for a more convincing and natural hand-made look. Check out the visuals for more details and cool usage examples.

Made in La Chaux-de-Fonds (Switzerland), Hyper Top is born while the designer (Bisou) watches "One from the Heart", a movie from Francis Coppola where Las Vegas is completely rebuilt in studio. The opening scene stages the signboard of the Dunes hotel and casino. This is the starting point of the most modern font ever designed by Bisou. Hyper Top is thought from ground up to give a strong impact. Dynamic, joyful, fast, this modern bold font is best suitable titles. It works perfectly with short texts for advertisement like candies, fireworks, protein bars or chewing gums. Just hang it over a prank and trap shop and see the coolest bad ass kids come in.

Qi is a display sans-serif inspired, in part, by the art deco typefaces sometimes seen on old signs along rural American backroads. Unlike these signs, Qi is new, fresh, a little bit quirky, and not at all in need of repair or a fresh coat of paint. The family is comprised of six distinct fonts with more on the way. With an entire set of Central and Western European (and, of course, American) glyphs, plus a bunch of alternates and ligatures, Qi could be the perfect display face for your next sign, poster, newsletter, headline or, well, most anything else. Hey, the lowercase alone makes these fonts well worth the price.

Vinho De Amora is a truly vintage serif font. Drawn by Mans Greback between 2019 and 2021, this font is created with inspiration from wine cellars, painted typography and genuine quality produce. It has a distinct sharp character, steady legs and a bold and wide appearance. The Vinho De Amora family consists of three styles: Black, White and Stencil; each one geometrically consistent and complimenting, perfect for stacking on top of each other to create more variations. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality. It has extensive lingual support, covering all European Latin-based languages. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Linotype Schwennel is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This prize-winning font was designed by the German artist Svenja Voss. The figures seem to have been somehow eroded, parts of some strokes are completely missing, contours seem washed away. The eye works to put the pieces together to form a meaningful series of figures. The second weight, lila+negro, completes the letter fragments of the lila weight. Missing pieces are filled in and contours completed, making the resulting text stronger and a bit more legible. Linotype Schnwennel is intended exclusively for headlines in larger point sizes.

Take a midnight stroll if you dare through the shadowy terrace of terror, in Nightmare Street! A bloodcurdling design supplied in two styles with additional underlines and paint spills, Nightmare Street is an 80s inspired horror font straight from the video store. It’s the perfect choice when you want a hand-made look for your movie posters and trailers, album covers, books and Halloween promos. This font includes complete uppercase and lowercase characters plus punctuation, numerals and language support. It also comes with a full set of alternatives ensuring that you’ll never have to repeat your e’s or t’s for a more convincing and authentic hand-drawn look. Check out the visuals for more details and usage examples.

Loncherita is a typeface created by Fabio Eduardo Godoy Angel and has 5 files: Fill, Fill Outline, Shadow 1, Shadow 2 and dingbats variables. Its purpose is to serve as a childish fantasy modular typography useful in logo design and merchandising. It is also recommended to compose expressive titles that need the option in which letters can be colored by layers. In that sense Loncherita is a typeface with logic italic vertical logical and its amount of contrast between thick and thin strokes is monoline, its antlers are mullets and rounded ends. It is also important to note that ii has 26 Dingbats designed to be point of attention and illustrate countless children and playful issues.

American Uncial™ was designed by Victor Hammer in 1943. Uncial typefaces consist of letter forms of the Capitalis Monumentalis and the majescule cursive. The origins of Uncial faces date back to the 5th century. In 1953, American Uncial was expanded to include some new figures, also designed by Hammer, and was rereleased by Klingspor with the name Neue Hammer Unziale. The forms are based on old scripts in books of antiquity and the early Middle Ages and the font is a new variation of a classic. Neue Hammer Unziale font has been a favorite for certificates and diplomas and is recommended for headlines and shorter texts in a point size of 12 or larger.

Hello friends! Drawing is a great way to pass the time. Sometimes, clumsy people can spill paint on paper or on an already completed drawing. What do we end up with? A ruined drawing or a new work of art? I think the latter. After all, every drawing is unique and a unique thing. Even if you are drawing a stick man! This font presents the opportunity to see what happens if invisible ink is spilled on it. This font is great for your new and unique projects for social media, lettering and just for home use! A little sloppy, a little bouncy, so it's so lively and magical! I wish you good luck and love!

Blang Cod Brush is a handwritten script font, based on free-flowing, friendly, and organic signature style expressions. hand painted with love. Blang Cod is available with alternative ligatures and characters in the Open Type Feature. Perfect for branding projects, logos, product packaging, posters, invitations, greeting cards, news, blogs, everything including personal charm. Blang Cod Brush is coded with Unicode PUA, which allows full access to all additional characters without special design software. Mac users can use Font Book , and Windows users can use the Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. Thanks a lot for viewing and let me know if you have any questions.

Sideroad is an intensive hand-drawn brush script font. It comes in two versions, Textured and Smooth. Textured version has this rough effect that comes when letters are drawn with pointed-brush on rugged surface. The Smooth version is, like the name says, smooth as silk with polished edges and properly drawn forms. Sideroad includes two sets of lower case letters to give variation and more imperfect hand-drawn effect. You can cycle these two sets by enabling Contextual Alternates OpenType feature. It also has set of lower cases without connector strokes. And a set of lower cases with end swashes. On top of these there are also a few underlines to give that final punch to your design.

A modern humanist sans serif made for the screen. Broad open letter forms are combined with precise geometry to create a functional and legible font that’s ideally suited to the web and on-screen applications. To reinforce readability and create more distinction at small point sizes serif like details have been drawn into uppercase ‘I’, ‘J’ and lowercase ‘i’ and ‘j’. Other characters of distinction include a serifed number 1 and a crossed out zero. Nauman is a highly legible font family aimed at large interface based projects. Details include over 800 characters with alternative lowercase a, e, I and M. 7 variations of numerals, true small caps with accents, manually edited kerning and Opentype features.

Inspired by the vintage brush typography, we proudly present Hadnich. the versatile script font. Carefully designed with the taste of old school sign painting which has the neat letterforms, attractive move and combined in modern form. Complete your font library with this cool brush font. Works perfectly for logo, signage, apparel, labels, poster, and many more! Make sure you get more variants of typographic design with a ton of alternates characters that you can access easily! There are stylistic sets 01-14, ligatures, swashes also accented characters, packed in a total of 350++ glyphs! Worth every penny. Uppercase Lowercase Numbers & symbols Stylistic sets 01-14 Ligatures Multilingual characters Thank you for watching. Keep it real!

Emily Bonza Script is a sweet calligraphy writing while maintaining its elegance. This will increase your design stand out! Emily Bonza Script is the perfect typeface for all your types of projects, such as advertising, branding, graphic design, quotes, wedding designs, logos for online or offline businesses, photography, and more. Make your business more beautiful! Emily Bonza Script: - Multilingual - Alternative - PUA encoded - Ligature - Very easy to use in any software (Include Hints) - Does not require special software installation. Compatible with Windows and Mac OS. Supported by Microsoft Word, Paint, Adobe, Corel draw, Cricut and other applications. If you have any questions, don't hesitate to contact me via email. Thank you so much for finding and enjoying it!

The English typographer Robert Harling created Tea Chest in 1939 with the Stephenson Blake foundry. Today, this classic design is available in digital format from Linotype GmbH. Tea Chest is a bold stencil face. The font's narrow letters are all caps, and they sport small, slab serifs. Harling's design was most likely reminiscent of the old industrial lettering painted onto boxes and wooden crates that used to be shipped all over the world on the high seas. These letters had to be simple to reproduce, easy to read, and not take up too much space! Try out Tea Chest for large signage displays, on exotic product packaging, or in magazine or newsletter headlines.

Blangkist Script is a handwritten script font, based on the expression of the signature style that flows freely, friendly and organic. hand painted with love. Blangkist Script contains ligatures and alternates characters in Open Type Features. Perfect for brand projects, logos, product packaging, posters, invitations, greeting cards, news, blogs, everything including personal charm. Blangkist Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. Thanks so much for looking and please let me know if you have any questions.

ITC Hornpype is the work of California freelance designer Mott Jordan, a cheerful display face inspired in part by the cartoons of the 1920s and 30s. According to Jordan, the typeface's name and three-dimensional quality can be traced to an early cartoon in which a cat blows on a horn with such force that the instrument bulges out. For the three-dimensional look, Jordan added highlights to the thicker strokes to create letters that look as though they were, in his words, squeezed from a toothpaste tube". Jordan suggests his eye-catching font for shorter words in larger point sizes. ITC Hornpype is a lively font perfect for anything needing a "fun, goofy" look."

Auster, A Sans with Flair! Auster packs sensational personality in its fine-tuned forms. Confident and quirky, yet comfortable to read, this distinctive san serif family stands out from the crowd. The curves cinch and strokes flair in unconventional places making Auster an unashamed rebel sure to turn heads. Originally designed during the TipoBrda Workshop in Slovenia. Resistenza spent 3 years developing this 2 style (roman & Italic), 20 weight family. The subtle reverse contrast characters were first painted with a flat brush, then polished in pencil on tracing paper before being carefully digitized, to include language support and all the opentype features you expect in a quality contemporary font. More About Opentype Features: https://bit.ly/opentype-rsz

Westside was designed by Adrian Frutiger in 1989 and is a kind of wood type. It is reminiscent of dusty streets, Wild West heroes and swinging saloon doors. The origins of this kind of typeface can be found in the early 19th century. Called Italian or Italienne, these typefaces quickly became very popular. They are distinguished by square serifs whose width is larger than the stroke width of the characters. When the letters are set together, the heavy serifs build dark horizontal bands. Westside is a particularly decorative typeface which will have a marked effect when used expertly. It is perfect for headlines in larger point sizes, which will highlight its special character.

Brush Up is the cool handpainted typeface you are looking for. Swiftly painted on paper and carefully translated into a font, it brings 3 glyphs for each letter and 2 for each number, plus variations for some punctuation marks. The font is nicely programmed to cycle these alternate glyphs when Contextual Alternates engines of applications are turned on. Or, you can always pick up your choices manually through a glyphs palette. Either way it will certainly turn out refreshing! Surprisingly versatile, Brush Up is available in two cuts – upright and oblique – and will greatly fit tons of purposes. Is it a headline? A small chunk of text? Maybe not that small? Ok, just Brush'em all!

Poole Standard is the "flagship" typeface from former wine label designer, Wesley Poole. It's a versatile friendly face, antique but not antiquated, elegant yet inviting. "I first used a hand lettered version of this look on the Carmenet label. I've had this alphabet designed in my head for some time. It's perfect for upscale work. Like wine, this font is well rooted in the past, but meant to be appreciated and used in the here and now. Poole Standard is a stylish headline face, yet works well as a text face because of its readability at smaller point sizes. (Other styles and weights are coming soon!) If you're looking for understated elegance, Poole Standard does the job.

Brillo Typeface stems from the effort of combining the modern look of a grotesque sans serif font with the elegance of the calligraphic copperplate's swashes. The result is a typeface that is perfectly suitable for modern graphic applications, such as publishing, branding and web, but which has some ornamental features that differentiate it from all the other grotesque families. Brillo doesn't want to be a neutral typeface. It's a font with a strong personality, which can give outstanding aesthetic and conceptual relevance to the graphic projects which will be used in. Brillo is a typeface thought for titling rather than for texts. For this reason it works better with character sizes bigger than 16 points.

Linotype Sicula, from German designer Roberto Manella, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. It is available in two weights, regular and oblique. Linotype Sicula will quickly win over any nostalgic spirits. Ornamental and sweeping, the figures line up on the paper, their contrasting strokes and playfully irregular forms giving them an exuberant, decorative character. The careful details of each figure come to light best when used in larger point sizes. Linotype Sicula is therefore best for headlines and can easily inspire typographic experiments and its capitals can serve as initials combined with other typefaces, especially sans serif.

This is the display version of Librum. Librum means “book” in Latin, which I thought was appropriate. Bream is Latin for proclaim—appropriate for display work. The fonts are very close to Librum-Book and Librum-Italic, with the same OpenType features. The glyphs are modified a bit to make them a little more elegant, but that’s not very noticeable. Mainly, the letterspacing and kerning is tighter and more carefully fit to large point sizes. As for classification, I like oldstyle, Venetian, geralde, English oldstyle. There’s discrete modulation, slanted crossbars, full brackets serifs of medium thickness and sharp cut ends. For a great deal, see Librum Book Design Group, for a package containing all fifteen fonts!

M Razor is so called ""neo Sung-style"" typefaces. Crossbars (橫) and stems (豎) are orthogonal and upright. Their entry and finial points are squarish, parallel without flare. Contrast of strokes is extremely high. This creates sharpness, stiffness in the midst of elegance of Sungti. Even distribution of space, careful positioning, size and proportion of radicals create a slightly expanded, opened and balanced construction. Zhonggong are slightly expanded, its relatively less inter-character spacing makes the line of text better coupled and aligned. Its features and construction create a feel of wholesome, elegance with contrasting sharpness and stiffness. It is best suited for casual, creative display eye-catching text, set upright (non-slanted), non-condensed.

Caprizant is a lively, upright script based on letters inked with a pointed pen. For display settings, titles, and identity work, Caprizant shines with even more energy and elegance. Customize it using one of the 337 swashes, three sets of capitals, and 20 ornaments. Alternates of every letter create a fully connected or unconnected look, plus dozens of ligatures, and contextual alternates provide a convincingly human variation. See what’s included! http://bit.ly/1RGYIl1 *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Clearface Gothic first appeared in 1910, designed by Morris Fuller Benton, the world-famously prolific typeface artist. In addition to Clearface Gothic, Benton also designed classics like Franklin Gothic, Century Expanded, and many other types. Clearface Gothic is a sans serif face with light forms displaying the Zeitgeist of the turn of the 20th century. Distinguishing characteristics are the open forms of the a" and "c," the arched "k," and the upward-tilting horizontal stroke of the "e." The relatively narrow typeface, with its open inner white spaces, is extremely legible even in small point sizes. There is no accompanying italic. This digital version of Clearface Gothic was made in 1984 by the Linotype Design Studio."

Goodchild Pro is a pragmatic text face, equipped for sophisticated academic typography. The face has a large x-height, as there is little point in adding to the stock of rangy “book” Jensons. Despite this departure from the archetype, in other respects Goodchild is true to the original letter forms in its tight fit, modulation of stroke contrast, and manipulation of x-height and serif size. Jenson’s tiny tittles and diamond-shaped periods have, however, been relinquished. The finish is not the antiquing that one often finds in Renaissance revivals. 
Here clean, decisive details provide a freshly minted, contemporary appearance, providing a smart impression should one wish to use the face at display size.

Hot Salsa is a calligraphic script font inspired by the classic, fairly well-made brush letters from the casual sign painting style, mixed with the fast and gestural tags you can find on walls all around the world. This is a fresh font that allows you to play with its numerous swashes, alternates and ligatures to make it feel more sober or a little flirty depending on your needs. Hot Salsa started with a brush pen and a lot of paper. These were later re-traced onto many layers of tracing paper with the intention of maintaining the brush pen and handmade feeling while making the structure consistent to ensure its readability and performance.

Bureau Grot is now accepted as the essence of tooth and character in an English 19th-century sans. The current family was first developed by David Berlow in 1989 from original specimens of the grotesques released by Stephenson Blake in Sheffield. These met with immediate success at the Tribune Companies and Newsweek, who had commissioned custom versions at the behest of Roger Black. Further weights were designed by Berlow for the launches of Entertainment Weekly and the Madrid daily El Sol, bringing the total to twelve styles by 1993. Jill Pichotta, Christian Schwartz, and Richard Lipton expanded the styles further, at which point the family name was shortened from Bureau Grotesque to Bureau Grot; FB 1989–2006

Untrouble – Elegant Futuristic Font is a powerful font that is here to answer design problems. with the presence of this font will maximize the project to the point of perfection. Untrouble is perfect for design, esports, logos, social media, branding, advertising, product design, handwritten quotes, product packaging, headers, posters, merchandise, and other designs. What’s Included : + Standard glyphs + UPERCASE + Web Font + Multilingual Accent + Works on PC & Mac, Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support + Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration purposes only. Thanks

Kismet has the look of a modern, ornamental alphabet, but looks are deceiving: the typeface was designed by John F. Cumming in 1879. The basic forms are strictly constructed, most based on the form of a circle, a shape which also appears again and again in the ornamentation. Cumming decorated his figures generously with spiral elements and tiny circles in the middle of the letters. Characteristics which suggest the beginning of the Jugendstil are the floral designs and some individual forms, for example, T, M or P. Small, pointed serifs add a sobering element to all the flowery, oriental decoration. Used sparingly in headlines, the extravagant Kismet will be sure to attract attention.

Genia is a script typeface that carries roundhand calligraphy DNA. Instead of using pointed nib pen, Genia was created using a fine brush resulting in clean and wavy character. With the OpenType features, Genia creates the natural feel of calligraphy writing. This contextual feature makes the font 'smart'. It knows which letters are the initial and which one is the finial. The feature can be activated in the OpenType section under the names of CALT or Contextual Alternates. Genia also gives you old style and proportional number options. Our advice is always turn the contextual alternates, and don't use the OPTICAL kerning on Adobe softwares. The preview on this site does not support the contextual alternates.