A late nineteenth-century type specimen catalog from Farmer, Little & Co. yielded this droll little typeface, originally called "Arbor". The distinctive decorations of the face suggested a fool's cap, and thus the font got its current name. And don't call me Surely.

Friedhof family is inspired by a tombstone lettering dated from about 1900. Beside the solid, fat style, it contains handtooled and shadowed (Geist + Deko) variations, as well as narrowed & lowercase styles. Note: Very complex, shadowed fonts may not work on slow machines!

Maple Street is a great looking traditional serif font composed by the Okaycat design team, Luke Turvey & Natsuko Hayashida, in 2014. Bold didone forms with structural seriffed detail combine at Maple Street to offer a cozy familiar style, without looking dated. This nicely balanced serif is designed to look outstanding for display or printed publication.

Kanona JNL is modeled from one of the numerous alphabets created by the late Alf R. Becker for Signs of the Times magazine from the 1930s through the 1950s. Thanks to a wealth of source material provided by Tod Swormstedt of ST Media (and who is also the curator of the American Sign Museum in Cincinnati, Ohio), Jeff Levine has been redrawing many of these alphabets and presenting them in digital form. The original variations in letter widths from Becker’s hand-painted alphabet have been left intact.

Please welcome, Casual Font Bundle. A pack of fun and variative fonts for your playful design. Every single fonts have their own personality and characters. Would be a perfect mate for your fun and casual design projects. Pair up each of them and you'll never disappointed at all!

Huginn And Muninn are a pair of ravens that fly all over the world Midgard. They keep the god Odin up to date on the wheelings and dealings of everyone living under the sun. Huginn means 'thought' and Muninn means 'memory' or 'mind' in old Norse. The font is a handwritten notebook-style typeface, messy yet legible. It is ideal to give your designs a lively, personal touch.

Calgary Script was mostly inspired by a brush script on a Welcome To Calgary sign in, you guessed it, Calgary. Though now, after it's finished, I can easily tell the influence is evident of all the books on American sign painting I have absorbed over the years. The overall effect of the font is similar to something that Fonzied itself, big hair and leather jackets and all, out of the early 1980s, but the feeling really dates back to a few decades earlier. Heady caps and free-flowing lowercase make for a speedy, determined, and instinctively organized buffalo herd of a typeface. This is a packaging font with a true supermarket sign spin, with OpenType features including ligatures, alternates, and ordinals specifically made to follow numbers.

The Logansport, Indiana Pharos-Observer dated June 12, 1917 had the following headline running across its front page: “American Steamer Sunk by German U Boat”. The condensed slab serif typeface used to set that headline has been recreated digitally as Newspaper Publisher JNL, and is available in both regular and oblique versions.

"And she, Pasiphae, gave birth to Asterion, who was also known by the name of Minotaur, since he had the face of a bull and the rest of a man. Minos wanted to beware against certain oracles by locking him in a maze. It was the labyrinth, the work of Daedalus, a construction of tangled revolts that strayed from the exit.” - Apollodorus from Atenas. LABERINTIA is a font inspired by Daedalus' masterpiece, The Cretan Labyrinth, an experimental, display typeface that creates textures, plays with the mind and loses anyone who dares to take a walk inside it.

Destra is a contemporary, narrow serif family, suitable to save space and legible at small sizes. Its shapes are the result of a mix of styles. "Destra" is the Portuguese word for "right hand". The font has several OT features - fractions, old style-, lining-, tabular numbers, superiors/inferiors, alternative glyphs, dozens of ligatures (standard + discretionary) and an exclusive feature to convert Arabic to Roman numerals up to 1000 (download the “OT Features Guide” pdf). Moreover, Destra has an impeccable technical finish, with a systematic review of nodes, curves, spacing and internal data, eliminating the possibility of errors when using it. The family consists of 8 styles, 4 weights - Regular, Medium, Bold and Black, plus their respective italic versions. The fonts are available in OpenType PS/TT and have extended character set to support CE, Baltic, Turkish as well as Western European languages. You can test Destra downloading the free trial font in Medium version (TT only). This trial file supports only Western languages.

Homage to 70s phototype typography in 3 styles The AW Conqueror typeface family is a nod to the spirit of phototype typefaces and transfer lettering from the early 70’s. Founded by Ed Rondthaler, Photo-lettering catalogs swarmed with more daring typefaces than the others. Both transfer letter and phototitling have liberated the principle of letter-to-letter spacing, previously impossible with metal type. Phototype allowed operators to position millimeters, on the fly, letter after letter: words, sentences according to the specifications of the art director. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skilful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

I drew this font staying true to the original design. The letter table in the relevant book was taken as reference. Enochian (/ɪˈnoʊkiən/ ə-NOH-kee-ən) is an occult constructed language[3] — said by its originators to have been received from angels — recorded in the private journals of John Dee and his colleague Edward Kelley in late 16th-century England.[4] Kelley was a scryer who worked with Dee in his magical investigations. The language is integral to the practice of Enochian magic.

The birth of the monospaced types dates back to the past. There was a need for the creation of typesets for typewriters. The difficulty was to align the different glyphs in the same width. This led to particular problems with letters like “M” and “l”; the former seemed to be squeezed into the same width of all letters and the second one appeared way too streched. Despite – or perhaps because of – the impression of the typewriter is still popular with Graphic Designers. Nowadays there are even monospaced versions of primarily proportional types; for example the the Sans Mono designed by Lucas de Groot or the DIN Mono. Then again, why not the other way round?! In the first half of the Nineties, Erik Spiekermann developed a proportional type named ITC Officina based on the Letter Gothic. According to a survey on the 100 best fonts of all time conducted by FontShop, ITC Officina is in an eighth place, far ahead of its forerunner. This was the reason for me to create a wider design with a Serif and a Sans Serif based on the queen of all monospaced types – the Courier.

The Irongate Font Family has a retro personality. The common denominators, in all the glyphs, is a blunt center serif. The main top & bottom of each Cap & lower case glyphs have 'fan serifs', yep serifs that fan out. This font's influence is based on a monogram I designed for my daughter's wedding where she described her image of the event being 'Classic with a Vintage Flair'. Irongate can be pictured on many things dated from 1918 - 2018. The font is available in 4 basic weights Light, Regular, Bold & Extra Bold. An additional pdf is included that gives the code for an additional 14 Dingbats, with each weight. Irongate works extremely well with Invites, Stationary, Signage, Embroidery, Letterpress, Ads, Logos and anything that feels Industrial or Hand-Crafted, eg. Coffee, Breweries, Antiques, Woodcuts, Western Styles, Sports Styles, etc.

This beautiful writing, which belongs to the Greek culture, is in a good place among the world writing cultures. I wouldn't have done it if I didn't make the font in this article. Dozens of beautiful fonts all have the same elegant lines.

Rick Bradley - known for his Fine Hand, Bible Script, Bradley Hand and Calligraphic Ornaments - drew this font from a gravestone in Ashbourne, Derbyshire, dated 1241. The irregularity lends a special charm to this 'English dialect' version of the international Lombardic style, while the ornamental points reflect the mediaeval 'horror vacui', fear of empty spaces where the evil one might creep in with his influences. Perhaps most useful as a display font, but complete with lower case and extras.

Bigticy is a typeface with a "new-retro" feeling. Its square outline is tempered by rounded angles. This makes it suitable for a large range of applications in the domains of magazine headlines and posters. The Narrow version has been drawn from a title found in an example (dated from the 50's) of the French newspaper "Le Dauphiné Libéré". For the Maxi style, I have tried to reduce to their minimum the inner white spaces. I had in mind those amazing stone walls that one can see in the antique Inca cities in Peru. The stones are so tightly joined that it is impossible to slip a sheet of paper between them. The Plain version is an interpolation of the two other ones. It is a very useful style since I keeps the main quality of each parent: the weight of the Maxi and the narrowness of the Narrow.

The typeface No Culture No Soul is designed from 2021–2022 for the font foundry Typo Graphic Design by Luise Herke × Manuel Viergutz as a project for support the culture. Special THX to Michael Rütten of soulpatrol.de The display font with 254 glyphs incl. numbers, punctation, marks & symbols is inspired in the past and present. Extras like OpenType-features and 7 sylistic sets. For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: No Culture No Soul ■ Font Styles: 1 (Rough) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 254 glyphs incl. extras like icons (decorative extras like dingbats, emojis, symbols) ■ Design Date: 2021–2022 ■ Type Desi­gner: Luise Herke, Manuel Viergutz, THX to Michael Rütten (Soulpatrol)

Deveren is a font based on goosefeather writings from the late 1600's.

This font has been on my drawing board since the late eighties. It was based on drawings provided to me by an old sign-painter family friend and we used it extensively as a caps-only font in the early 90s on a cellphone ad campaign. It loves to be tight set and stacked and provides real grunt when you need it. Small caps have been added and have been weight and proportion adjusted so as to complement the caps. At Type Associates we believe that a font is not complete until the spacing is optimal. Carmel is another example of quality through extensive experience, testing, adjusting and refining.

Edison Swirl, with its terminals majestically looping and twirling in a circular fashion, quickly takes us back to the Victorian era of type. This unusual fancy face, which dates back to the early 1900s, distinguishes itself by employing splayed M & N caps. Some letterforms also contain double cross-strokes for added interest. Edison Swirl is full of ornament and detail which creates a truly striking pattern of intrigue and delight. Edison Swirl is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Philadelphian is a revival of a MacKellar, Smiths & Jordan font from 1867 by the same name. The regular version with shadow outline was the only style that was offered in 1867. We've taken the original design further by creating two additional weights of medium and bold plus plain black versions. The medium and bold weights are unique because only the horizontal strokes increase in thickness while the vertical strokes remain the same in each weight. Philadelphian Nite is the plain black version of this font family, Nite is the casual spelling of the word Night meaning dark or black. In the late 1800's Philadelphian was a very popular typeface which can be seen on many billheads and letterheads through the early 1900's. If you're looking for a western style font that doesn't look like any other then Philadelphian is the right choice. While the name doesn't remind you of the cowboy genre we've kept the original name for historical reasons because this font was so popular in its day. We plan on going forward with a weathered version of Philadelphian which will be released under a southwestern style name. With Philadelphian we've decided to set the complete family price to an amount that may be considered on sale all of the time.

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced Kisch) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added these two headline weights, which are available besides a separate font family Kis Antiqua Now TB Pro. Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

This family was inspired by the two fonts used by the famous William Caxton in Westminster (UK) in the late 1400s. There is only one (Normal) style. We have added the accented characters and others not in use in the early time of printing, but the ligatures and the few abbreviations for the Old English language and Latin were present in the original fonts. The original cap height is about five to seven millimeters. Decorated letters like 1495 Lombardes, 1512 Initials, 1550 Arabesques, 1565 Venetian, and 1584 Rinceau can be used in complement with this font without anachronism.

ITC Cheltenham font in its present form is the work of designer Tony Stan. Originally designed by architect Bertram Goodhue, it was expanded by Morris Fuller Benton and completed by Stan in 1975 with a larger x-height and improved italic details. ITC Cheltenham font is an example of an up-to-date yet classic typeface. In 1993 Ed Benguiat added the Handtooled weights to this family.

About this font family: News - Dedicated to writing a news text in newspapers, magazines, road boards, book , TV and other printing products, and web pages. The News font contains 3 styles (regular, Medium and bold) The font includes a matching Latin design and support for Arabic, Persian, Kurdish, and Urdu. Language families: Arabic, Persian, Kurdish, Urdu, Latin Designer: Sultan Maqtari Design date: 2021 Publisher: Sultan Fonts

New Alphabet was created as a four weight family in close collaboration with Wim Crouwel. His response in the late 1960s to the first device for electronic typesetting was a radical experiment designed to follow the underlying dot-matrix system. With his strong interest in grids, Crouwel worked within the constraints of existing electronic technology, to produce characters that worked with the mechanical means that conveyed them. His original New Alphabet experiments have now been further developed by The Foundry into a typeface family that also includes the dot version.

Disclosure is suggestive of low-grade digital output, screen displays, fax machines, or high-speed data transfer. It is missing vertical sections, perhaps due to a faulty print head or signal degradation. It is intentionally monospaced — each letter has the same width, like a typewriter — and unkerned. Suitable for uses where an unfussy urgency and drama is required. Developed from the 112 Hours numbers-only font, Throughput.

Hazelton is a neo-humanist typeface inspired by the explorations and development of early British sans-serif typography. Six weight have been developed for Hazelton. The lighter weights are loosely inspired by Edward Johnston’s Underground typeface. The heavier weights glean inspiration from Stephenson Blake’s Granby. Sharp, pointed terminals that are indicative of British typography have been omitted in favour of a more modern sensibility. Subtle humanist characteristics become more exaggerated as the typeface increases in weight, making the lighter weights practical for text purposes and the heavier weights ideal for display use. A unique set of numerals have been developed to infuse them with a humanist quality that is often lacking when typesetting technical data. The result is a diverse typeface that is as powerful as it is beautiful.

Bolton Commercial revives and updates one of Greater Albion's designer's earliest typeface families, Bolton, which was recently used on the credits of a popular UK television series. The family consists of five faces- Regular and Obliqued, Blocked, Embossed and Engraved. All have a late Victorian/Edwardian feel and are ideal for posters, signage, Book covers...and of course television credits! Bolton Commercial combines the virtues of flair, fun and legibility.

Chapeau is loosely inspired by a Johnny Cash letter written on an old IBM typewriter. The original typeface called “Doric” was a rare example of a proportionally aligned typewriter face, supplied by IBM in the late 1960s. Based on simple geometric shapes, Chapeau is a low contrast sans-serif with rounded endings. The letterforms have been carefully aligned to avoid exceeding width and to achieve an efficient, contemporary appearance.

Temet Nosce - Serif font family - Multilingual - 6 Styles Temet Nosce Serif font family help you develop your creative projects with its 6 styles and multilingual supports. It was inspired by the famous saying from ancient Greek mythology. The characters that make up its structure were influenced by the carved letters in the old stone inscriptions. According to ancient Greek and Roman authors, there were three maxims prominently inscribed upon the Temple of Apollo at Delphi: "know thyself", "nothing too much" and "give a pledge and trouble is at hand". Their exact location is uncertain; they are variously stated to have been on the wall of the pronaos (forecourt), on a column, on a doorpost, on the temple front, or on the propylaea (gateway). The date of their inscription is also unknown, but they were present at least as early as the 5th century BC. Although the temple was destroyed and rebuilt several times over the years, the maxims appear to have persisted into the Roman era (1st century AD), at which time, according to Pliny the Elder, they were written in letters of gold. This font comes with uppercase, lowercase, punctuation, symbols and numbers, ligatures and multilingual supports. Ideal for books and magazines, editorials, headlines, websites, logos, branding, advertising and more. This font family can meet your needs in all creative projects, modern and classic. With this font you can create your unique designs. Have a good time.

Almoneda: Sale at public auction of movable goods, generally used. And also: private and voluntary sale of jewelry and junk that is made without the intervention of justice. Formerly, it was nothing more than the market or sale of things and spoils won from the enemy in war. Nowadays, the almoneda is practically associated with spaces where the sale of "old things" takes place and, in Madrid, they are usually concentrated in the area of El Rastro, an open-air market that is set up on Sundays and some holidays in the center of Madrid. There, you can find everything and, if you walk around a lot and look hard enough, great typographic finds. It is there where I find a large number of elements (usually from the late nineteenth and early twentieth century) such as boxes, posters, books, etc.. in which appear uppercase letters with a variety of shapes, letters embedded, rare ligatures ... In addition, many elements extracted from street signs, tiles from bars and commemorative elements of Madrid have been used to complete this font design made with care and patience. Thus was born Almoneda, a modern typeface with a marked axis and great contrast, and an uppercase with several sets of characters to play with and enjoy. It also includes a large number of ligatures and discretionary ligatures. A Variable font is included with the full package license. Almoneda, a typeface that will not leave you indifferent. They take it out of my hands, hey!

This Dingbat font is designed to work well with the Van Condensed family. The dingbats in it have the same round treatment like the typeface.

I've had an interest in typography ever since my college days, even submitting my NDD thesis on the subject. The basic concept for this typeface stems from that early creative period, hence the obvious 60’s retro feel. It’s only recently that I've have had the chance to carry through fully some of my dormant typographic ideas, but ‘better late than never’ as they say! The font’s characteristic style is based on repeating or rotating templates of a half and a quarter circle, the geometric, modular building blocks used here. The name was simply influenced by the letter ‘u’, which visually describes a stylized ‘tulip’ flower.

This was a favorite of the old time job printers;­ decorative but readable. The MacKellar foundry was the largest and most creative of the old foundries, and decorative fonts like this one came out at the rate of several every year.

A classic late nineteenth-century face from the Dickinson Type Foundry of Boston. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Adrenalin font for the most daring and uncompromising projects. Rock, extreme, drive, fear. Based on the famous series.