Brush lettered scripts have such a quick expressive quality to them and have amazed me since I was a little girl. The quick whip of the wrist can make or break a letterform so easily. They are filled with personality and visual flavor. Beckford Script taps into that association and brings a quick handed sassiness reminiscent of vintage travel brochures and old pulp and romance novels. But for whatever you might need this script for, you'll find it up for the task. Spice up your font collection and pick up Beckford Script today!

A concertina is a kind of musical instrument, not unlike an accordeon. I just liked the name; I have to admit I’m not a particular fan of accordeon music… Concertina is a beautiful handmade script font. A little rough, but elegant as well. It was made with a small Japanese brush pen on coarse paper. Concertina comes with double letter ligatures and end-letter alternates. To access the end-letter alternates, type the letter you want + space (and make sure to tick the ‘ligatures’ box in your OT environment).

Aztek emerged as a custom face for an ethno-music festival, and gradually developed a more robust, geometric base. The original ethno roots can still be seen in some of the alternative caps, and the ease with which Aztek forms decorative elements and borders. There is also an alternative “Tall Caps” set, that goes alongside normal uppercase characters as if they were Small Caps. The font features Latin (extended to support German and Polish) and Сyrillic character sets. Though Aztek is an accidental face designed primarily for display work, it holds well at smaller sizes and can endure high ink gain printing found in letterpress and silk-screen processes.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

No, I don’t need therapy - at least, not that I’m aware of. I needed a bold and rough name for this bold and rough font. Rough Therapy is a strong display font. Comes in a clean and a dirty version, so take your pick!

Every type library needs a generic, comicbook-style “POW!” font, and this one is ours. Breezy, bouncy and bold, it’s the perfect choice for rock-em, sock-em headlines. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Cosmic Turtle is the belief that the world is supported by a giant turtle. It is mostly found in Hindu and Chinese mythology and the mythologies of the indigenous peoples of the Americas. I had to think of this, as the idea of the Cosmic Turtle is referenced to in the 1982 book ‘A Wild Sheep Chase’ by Haruki Murakami - my favourite author. Cosmic Turtle is a font that I made using a broken chop stick and Chinese ink. I was actually trying to create something scary for Halloween, but this is what came out and I quite like it. Cosmic Turtle is a fat display font with rough edges, wobbly glyphs and a set of double letter ligatures for you to play with.

New foundry on the block, Hooper Type, kicks off it's catalogue with a versatile, story-telling serif font. With a love of the magical and a yearning for adventure, Istoria pushes away from the static, drawing in whisps and whirls that entice and excite, without distracting. Unassuming in it's long form, with delicate strokes that draw the eye, it commands attention when used in short punchy titles, or set in caps. Istoria (meaing both history and story in Greek) delights in having unusual curves, curvy straights and twisty feet which emulate those adventures and myths from days gone by. Type shouldn't interfere with the content, but it absolutely can enhance it. Hope you enjoy it!

Mixtra is a versatile and complete type family designed by Bo Berndal. The three Mixtra family branches are Roman, Sansserif and Slabserif, each with a full set of weights. The Roman also has a Small Caps font. Combining the three family members is a good starting point for creating a coherent typographical design. Mixtra works well in magazines and all sorts of print in need of a strong visual identity. "Mixtra is a multiface", says Bo Berndal. "With or without serifs, or with powerful slabserifs, you can pick the version that best suits the design and printing technique you have chosen."

Mixtra is a versatile and complete type family designed by Bo Berndal. The three Mixtra family branches are Roman, Sansserif and Slabserif, each with a full set of weights. The Roman also has a Small Caps font. Combining the three family members is a good starting point for creating a coherent typographical design. Mixtra works well in magazines and all sorts of print in need of a strong visual identity. "Mixtra is a multiface", says Bo Berndal. "With or without serifs, or with powerful slabserifs, you can pick the version that best suits the design and printing technique you have chosen."

Mixtra is a versatile and complete type family designed by Bo Berndal. The three Mixtra family branches are Roman, Sansserif and Slabserif, each with a full set of weights. The Roman also has a Small Caps font. Combining the three family members is a good starting point for creating a coherent typographical design. Mixtra works well in magazines and all sorts of print in need of a strong visual identity. "Mixtra is a multiface", says Bo Berndal. "With or without serifs, or with powerful slabserifs, you can pick the version that best suits the design and printing technique you have chosen."

Leighton is a four-weight serif font family that was created in 1993 by Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) exclusively for ITF’s Red Rooster Collection. Its designs are loosely based on the typeface Lectura, which was designed in 1966 by Dick Dooijes for the Amsterdam Foundry. Leighton is a conservative, demi-serif font in a Dutch style. It is ideal for upscale corporate projects and excels at any size.

The Mingler fonts have a great big smile and a crisp clear voice. They were originally created as a branding font for a restaurant chain to use in coupons, print ads and tv commercials. More recently this font is picking up popularity as a multi-purpose headline font for screens. It looks good on the web, in games and on-screen apps. Inspired by the subtle bends and flow of hand-painted signage, each stroke bends a bit in the middle and flairs out a bit on the ends. And look at that "e" —it is smiling!

Fashion is a statement, and so do fonts. Push yourself to the breakthrough of the visual trend with TRANT. An experimental display font, with the elegant slick yet glamorous vibes in every letter. Carefully tailored with reference to the couture fashion, implemented as ready-to-wear stuff in the form of the typeface.

The Parkway font family was inspired the Parkway Theater marquee in south Minneapolis and the abandoned hotel signage along a strip of U.S. highway running from Tallahassee to Tampa in Florida. A classic retro font trio, the Parkways speak of nostalgia and Americana. Looks like the little metal tag that dealers stick on the trunk of new cars.

A self made bamboo or reed stick nicely cut down to a broad edged nib must have been the tool with which the designer Andrew Weed wrote his letters for the typeface Pine.Its irregular outline is the result of the flowing of the ink. Ideal for a headline or a poster which reflects the personal touch of the tool.

Amoniac is a geometric modern minimalist sans serif display font. A fusion of artistic old world and the future, creating a unique contrast of new style. This typeface consist of 3 weight with optional alternate glyph. Pick your own style, rounded or sharp. perfect usage includes logo, poster, display, headline, t-shirt design and many more.

Gelion is a large family of geometric sans serif fonts. It ships both as two Variable Fonts or as 16 traditional fonts. Those static fonts span eight different weights, ranging from Extralight to Black. Each has an upright and an italic font on offer. The italics are carefully crafted, with an 8° slope. Gelion is inspired by 20th-century geometric sans serifs and classic neo-grotesque designs from the late 19th century and the middle of the 20th century. Its forms remain true to the gracefully geometric look of its classic predecessors, which will surely tick off any client’s long list of branding requirements. Letters in all of Gelion’s weights are drawn with virtually monolinear strokes. Its lowercase letters have a tall x-height. Yet, that still leaves enough room for the fonts’ diacritical marks. Gelion’s default “a” and “g” each have single-storey forms by default. The dots on the ‘i’, ‘j’, and diacritics are round, as are the punctuation marks. Gelion is an excellent choice for both corporate design and editorial design projects, thanks to its range of weights and its legibility in text. The fonts include a lot of ligatures, some monochromatic emoji, a set of arrows, lovely Roman Numerals, and more. Thanks to Gelion’s stylistic alternates, if a project comes up where you do not need a geometric vibe, you can activate Stylistic Set 1. That will replace many of the fonts’ letters with more humanistic-sans alternates, giving your text the feeling of a whole other type design with just one click. Last but not least, the descending “f” available in Gelion’s italics is a nice typographic trait.

Sagrantino™ shines at large sizes – and in vibrant colors. Think big posters, commanding headlines, massive banners and oversized packaging. Set headlines in the Highlight or Shadow designs and running copy in the Regular – all on the same page! Sagrantino could be called the Lava Lamp of fonts. It’s slick, glossy, retro and futuristic. Somehow, it’s fresh and quirky-classic at the same time. This is a design that challenges you to think outside the text box. In fact, Sagrantino is so lively, it took three Monotype typeface designers, Karl Leuthold, Juan Villanueva and Carl Crossgrove, to draw it. Because it’s a script, Sagrantino pairs perfectly with just about any other design – except another script. Maintain the futuristic retro vibe by combining Sagrantino with a typeface like Biome™ or Neo™ Tech. Looking for a counterpoint? Try a cool sans like Avenir® Next or Univers® Next. OpenType® Pro fonts of Sagrantino enable automatic insertions from a crowd of fancy ligatures and delightful alternate characters – in addition to offering an extended character set supporting most Central European and many Eastern European languages.

A special person deserves a special font. That is why we present you Gailenia. Make your design or any project of yours look stunning and wonderful with all the features of this font, like alternates, swashes, titling, and stylistic alternates. This font looks amazing for packaging, business cards, invitations, posters, labels, and any kind of design. Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, & CorelDraw. Multilingual Support: ä ö ü Ä Ö Ü ß ¿ ¡ To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign, and CorelDraw. For more information about how to access alternate glyphs, please go to this link ( goo.gl/ZT7PqK ) Check out our font collection for more great and artistic fonts. Pick your most favorite font and use it as you like to reach your goals.

Ersatz has its vibrant roots in the Mediterranean climate of Spain. Tired of the functional monoline sanserif fonts used throughout Europe from road signage to corporate identity, Richard Dawson and Dave Farey, British type designers who crave color and sunlight, created a style that is refreshing and lively. The basic constructions are simple and attractive, mixing lower case shapes into the capitals - and unique letterforms into the lower case. There's a raunchy feel to Ersatz, soft curves and back kicks, if you listen very carefully you can hear the sharp guitars and the soft tambourine of the Flamenco.

Endgame font was made using a very, VERY bad brush and Chinese ink. I had bought a bunch of brushes some time ago and I discovered that the hairs had been treated with some goo to keep them from sticking out. The goo didn’t really come off, so when I started to draw the glyphs for this font, the brush strokes were kind of wild. In the end, I really liked it (even though I will never again buy that particular brand of brushes). Endgame is a wild brush font. Comes with the works: diacritics, ligatures and alternates.

Strong and somewhat rough but absolutely warm-hearted, this Tremendous family is quite versatile and will find the right tone to deliver your message in a nice way. It can be friendly, it can speak out loud, it can be almost serious. It just cannot go unnoticed! Each font weight brings 2 slightly different options for each letter , which is cool for a more uneven look. Pick your choices through the keyboard or just turn on the OpenType ‘contextual alternates’ feature to instantly cycle these alternates. For tremendous people.

Rincon is a serif font with 201 glyphs including ligatures and alternatives. It was designed by Rachel Kick in Los Angeles, California. Inspired by beautiful serif while maintaining a friendly and approachable feel, Rincon is perfect for branding, display, or marketing. Rincon has the ability to hold it's own as a single word headline, or in a paragraph form. It also works well with simple sans serif or script font compliments. The ligatures increase its legibility and adjust each character to work perfectly with the character next to it.

Redrawn from an old wood type we picked up in London. The original manufacturer is unknown. We added the lowercase to increase is usefulness.

Aquatronik is a decorative display face with a somewhat retro-futuristic flair. It brings alternate glyphs for some letters and numerals and has extended language coverage, speaking more than 200 languages. The family includes three widths, for added versatility. Aquatronik is an excellent pick for eye-catching designs, including posters, book covers, album art, editorial, apparel, and many more. Have fun!

Glossy Sheen is a shine layered font. A fun thick font with 4 layers of fonts to choose from! There are shine, shadow and outline that you can pick. This font is perfect for t-shirt, packaging, branding, posters, greeting cards, quotes and so much more.

This is the classic English Script. Completely drawn by hand with a classic pen and then scanned and worked over just enough to keep that handmade touch. I didn't want this to look perfect, there are enough versions of this font that are way too slick.

Ignatius is the work of British type designer Freda Sack, a traditional roman typeface featuring an open, engraved effect. The stately capitals can be used alone or combined with the complementing lowercase and both should be set closely. Ignatius will give any work a classic look.

A disc jockey-only promotional sleeve for a 1964 [45 rpm] release of “Close to Me” and “Let Them Talk” by Dan Penn featured the song titles printed in a stencil typeface on the record sleeve. Closely resembling a stencil version of Franklin Gothic but with its own unique characteristics, this design has been reinterpreted as Turntable Stencil JNL and is available in both regular and oblique versions. For trivia buffs, Dan Penn is a singer-songwriter-record producer, often collaborating with Dewey Lindon “Spooner” Oldham; both closely associated with the late Rick Hall’s Fame recording studios in Muscle Shoals, Alabama. In 1964, Hall started the Fame record label, and for a time it was distributed by Vee-Jay Records of Chicago, the first major Black-owned record label in the United States. Penn’s release was only the second for the new label; Fame 6402.

ITC Dartangnon is a work of English designer Nick Cooke and began with the thought, It's a long shot but it might just work as a font." It started as a doodle with a chunky pencil. "So many script fonts look too stylized so I thought I'd try to produce one that looks more like handwriting." He scanned the doodles and used Fontographer to draw a set of monoline letters. "Working quickly I soon drew the whole alphabet, and without being too pedantic about the characters joining exactly, I arrived at this script." ITC Dartangnon is an energetic font which remains legible even in small point sizes. And, Cooke adds, "It is supposed to be used as upper and lowercase only, NEVER just caps.""

The beat is on, the piano plays the funky tunes and the rhythm guitars do their best to get the party started! The party starts with your design - use the Disco Jaw font if you are working with a theme that involves comic, kids, commercial, arts and crafts, posters ... anything that needs a fresh kick! Included are jumpy alternative letters, which makes your text look alive and kicking - and or course, there is multilingual support!

Kaat is a new type (2013). It was designed by Chris Nuijen and named after his daughter Kaat. It represents the period in which everyone has their face behind the latest mobile phone screen or interactive games console. "Kaat"is slick, modern and progressive, to reflect our busy immediate life style, whilst providing the essentials in a period where people can be judged on television. Kaat is here to stay and to evolve. Everyone wants to try to be that little bit different, but essentially we are all the same, with the same inherent needs, just like babies or children. We need to be fed, watered, nurtured and loved, the only difference is in today's world you can do all that from behind a screen. "Kaat" bridges that gap, transcending the basic needs of type, with the sophistication and fast paced sharpness of today, everyone wants to be different but we all stay the same, this is a reflection in the thickness and shape of each glyph. The font represents how we are molded and cast differently in yet we still stay the same, because we need the repetition! Everything needs to be done quicker, simpler and cheaper. We eat we sleep we communicate.

I have improved and added diacritics to this elegant alphabet, and generally cleaned it up to a professional standard. It is well suited to logos, menus, invitations and other things wanting a touch of elegance. Nick Curtis says: "I came across this particular treatment for swash caps in an old book on letterhead design. The original had been handlettered, but I though it might be convenient to have a ready-made font to accomplish the same effect, and here it is. As an extra added feature, the “§” sign is an ampersand with a long tail." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Crillee is a family of our styles that was originally produced by Letraset. In 1980, Dick Jones designed Crillee Italic. Jones also designed the family's second style, Crillee Extra Bold Italic, in 1981. Peter O'Donnell designed Crillee Bold Italic in 1986. The fourth style, Crillee Italic Inline Shadow, was completed by Vince Whitlock. At the time of Crillee's development, Jones, O'Donnell, and Whitlock were all employees of the Letraset Type Studio. Crillee's slight lean to the right and geometric forms create a feeling of power and speed. Crillee should be spaced closely in word settings and is perfect for anything which should have a cool, modern appearance.

Imagine you want an interesting font that fits in many designs yet looks neat and also eye-catching. Don't worry anymore because it is answered. We present you with a special font named StarTrack. StarTrack is a must-have display font that enjoyable, pleasant, and elegant. It looks neat and suitable for your simple or complicated design. This font looks great for packaging, business cards, invitations, posters, labels and all kinds of your designs. Get this font into your collection now. Check out our font collection for more great and artistic fonts. Pick your most favorite font and use it as you like to reach your goals. What's included: 1. StarTrack font file 2. This font completed with: standard glyph, ligatures, punctuation & symbols, underline, and italic font style 3. Works both on Mac & PC 4. Simple installation 5. Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and CorelDraw 6. Support multilingual; ä ö ü Ä Ö Ü ß ¿ ¡ You will love this font!

If you thought you heard someone callin' your name just now, you might have caught the firm but soft spoken tones of Comicraft's classy balloon lettering font, HushHush. Created in the style of the newspaper strips of the 30s and 40s, HushHush captures the slick movements of the skilled hand letterers of that era. Gracing the pages of Jeph Loeb and Jim Lee's chart-topping BATMAN storyline -- which by a staggering coincidence was also called "Hush" -- these characters have brought to life the words of Two Face, The Joker, Scarecrow, Catwoman, Batman and Robin -- from every whisper to every scream.