Hem and Haw SRF is another Ray Larabie original for Stella Roberts Fonts. Rebuilt from Ray's former freeware design "Stitchen", the lettering looks as if it were stitched into fabric. The font now is more complete with foreign characters and additional accents, punctuation and currency symbols. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

Introduce Jodith gladyse! Jodith gladyse a new handwritten font with a style natural, sweet and simple. Made with great care to provide the natural and modern elements. The great thing about this font is you can find some style when you use it, examples such as natural handwriting style, unique, simple, elegant, and luxury. Very suitable to meet your various design needs that are trending now. Please try it!

LP Bambus is another new handwriting script written with bamboo from German designer Peter Langpeter (lp-design.de). LP has been running his own design studio since 1995, working as a typeface and logo designer, as a calligrapher, cartographer and illustrator. During this time LP created a large number of excellent new typeface designs. Now, we are extremely happy that LP has chosen to let URW digitally produce and market his designs.

This is a relaunch version of Joost, a milestone of the Type-Ø-Tones catalogue. This revival of Joost Schmidt’s typeface now has a capital set, a new weight and some OpenType features. Not to mention alternate glyphs for M, N, Ñ, and W characters. The inspiration came from the 'bauhaus dessau im gewerbemuseum' basel exhibition poster, designed in 1929 by Franz Ehrlich after a sketch by Joost Schmidt.

The Etalage-script has been drawn for the first time in the year 2000, based on a early 20th century lettering stencil with what farmer Boelema at Lalleweer stenciled his grainsacks. Eventually the script letter was developed as a typeface with a wink to the ‘lost’ displaytypes for the ‘display window’ of graphic designer Ariënne Boelens, who in exchange made the website www.lalleweer.nl. What originated the Ariënne should be evident now.

When we asked Dave Gibbons to name the typestyle he created for the sound effects in GIVE ME LIBERTY, he must've thought we were kidding. So we humored him, and now you can get in on the joke when you order BELLY LAUGH and Dave's signature font for just $99. It's a rib-tickler alright, and it's also available separately for those of you who like to laugh alone.

Introducing new Morgini Serif Typefaces with lots of alternative characters, SWASH and unique ligatures. It appears regularly and boldly with lower and uppercase letters, numbers, punctuation marks plus multilingual letters. A must have for every modern graphic designer now! Morgini is a very versatile font. Perfect for branding projects, logos, magazine imagery, wedding invitations, posters, apparel, packaging, website headers, or simply as a stylish text overlay onto any background image.

The Belucian series offers a distinguished text design supported by dynamic headline structure. In need of a distinctive display style, Smart magazine asked Font Bureau in 1990 to revise the work of Lucian Bernhard from 1925. David Berlow prepared Belucian Demi, now accompanied by Kelly Ehrgott-Milligan’s 1994 Demi Italic, added Book and Book Italic for text, and designed Ultra for dynamic impact in headlines; FB 1990–94

Cralione Script Now Comes with updated neater glyphs, more stable kerning size, new punctuation & numbers. Cralione is a beautiful modern calligraphy script font that is suitable for branding, invitations, greeting cards, posters, name card, quotes, blog header, logo, fashion, apparel, letter, stationery and other projects. To access all OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator, Adobe Photoshop, CorelDraw and Microsoft word.

Since the advent of computer lettering in comicbooks, it has become commonplace to use letterforms with a mechanical look for mechanical sound effects. In my time as a hand-letterer of comicbooks I used hand-drawn letterforms for all sound effects, including mechanical ones. The advantages of computer lettering now allow me to use more mechanical looking effects where appropriate. Iron Warrior is the result. For more information: homepage.mac.com/

You can get the latest Hello Smile original handwritten simple font model now! With an updated hand calligraphy model with special glyphs that have been given a combination of fantasy and handwritten ink. This font will look beautiful on any design, Wedding designs, branding materials, blog titles, quotes and invitations, and business cards. OpenType includes: Alternative Style Set style Ligature SWASH Thank you so much for viewing and Enjoying it.

It’s a Towering Inferno of a Font! It’s a Poseidon Adventure, an Earthquake and a Sharknado of Devastating Proportions! Don’t Look Up -- these cracked and chunky letterforms are signifiers of a Magnificent Disaster! A Perfect Storm of Tip Top Type by Comicraft's Starkings & Roshell with artist Lisa Davighi. Dante’s Peak has exploded and the Deluge has begun. Don’t save this font for the Day After, when worlds collide — Armageddon is Now!

Invites is a digital recreation of a 1920’s mechanical script that has never existed. I designed it for my wedding invitations last year and named it in honor of my (ex)wife. Who said it wasn’t her. And she was right. So now it’s called something different. I wanted a sweet, romantic name ... Iris? Taken. Lily? Taken. Iris Lily? Cumbersome. I wanted something short and inviting. Uh ... hmmm.

Alwyn New is the refurbished version of Alwyn, originally released in 2005. Whilst the font has been completely re-drawn, re-spaced and re-kerned it retains its original, ‘squarish’, robush charm, and now has a wealth of features consistent with an Opentype font. Ranging from Thin to Bold, with Italics in all weights, Alwyn is a perfect choice for a variety of tasks ranging from text setting to signage systems.

Skulebuk is a decorative typeface ideally created for use on edgy/street/urban or sports related design projects. Reminiscent of the early 90s scribblings in the back of my old school books (we all remember right!) instead of doing real work! The two weights available Regular and Heavy will help balance designs that want to over use the typeface i.e Heading and body text. 80s-90s is very now!

Fair Sans Text is the natural follow-up to the popular Fair Sans - now a text family based on the calligraphic structure and casual construction of its predecessor. As the name implies, Fair Sans Text has proportions for longer text settings, strong headlines, and everything in between. Lively and casual, FST is four weights with true italics. Also included are small caps, old style and tabular numerals, and multi-language glyphs.

Arthur is an edgy modern serif font. The long, classic serifs make for a unique high-contrast typeface that's all stylish. It appears regularly and boldly with lower and uppercase letters, numbers, punctuation marks plus multilingual letters. A must have for every modern graphic designer now! Features Include: Uppercase and lowercase Number Punctuation (OpenType Standard) Accents (Multilingual Characters) Alternative Style Ligatures and Style Sets Works on PC and Mac Simple installation

There is no such thing as a talking cat, however, you can often find these in adventures, movies and other stories. At least, now you can have your own font called "Talking Cat", and perhaps even your cat will like it! Mine did! Talking Cat works very well with packaging, toys, posters, postcards or perhaps even flyers - the smoothly rounded edges makes sure your design keeps that handmade look!

Within the pages of “The Essentials of Lettering” by Thomas E. French and Robert Meiklejohn (circa 1912) is an example for creating a sans serif alphabet and numerals. The lesson plate is entitled “Upright Single-Stroke Gothic”; a basic monoline font most useful for architectural and drafting plans because of its easy-to-read properties. This type design is now available as Drafting Class JNL, in both regular and oblique versions.

The original characters, and now-rarely-seen alternate characters, for Memphis, designed by Emil Rudolf Weiss for American Type Founders in 1930, provided the pattern for this wispy, ultralight typeface. Although intended primarily for headlines, this typeface can also be used for brief blocks of text, if set 18 pt. or larger. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

A 1967 ad for Aurora “Monster Scenes Custom Builder Kits” featured the drippy, gooey hand lettering long associated with science fiction and horror movies. The letters in the ad were auto-scanned and additional characters were completed with the end result being a horror-themed font with sharper angles and lines instead of drips. This is now available as Monster Movies JNL, which is available in both regular and oblique versions.

Are you ready to take your design projects to the next level? Say hello to Quinbuilt, the epitome of vintage charm blended seamlessly with modern design prowess. Elevate your creations with a touch of nostalgia that captures hearts and leaves a lasting impression. Hurry, dive into the world of Quinbuilt now, and embark on a journey that merges nostalgia with innovation. Your masterpiece awaits – let Quinbuilt be your guiding star!

EKUHOT Racing Font is a font that is designed with a precise shape and has many alternate variations and various ligature styles that make every word beautiful when written, make this font for various titles and text in your special projects so that your project looks beautiful. dignified character, bold and sporty. This font is perfect for headlines as well as others, what are you waiting for, use this font now.

‘Bounced’ is the technical (!) term for a higgledy-piggledy style of lettering in which characters are shaken up by a combination of rotation and vertical displacement from the presumed norm of upright stance on a baseline. Now, by utilizing pseudo-random contextuality in the OpenType format, Nick Shinn has created complex, default bouncing automatically through the agency of a font, rather than letter-by-letter manual adjustments at the layout level.

Released in 2006 under the name Flatrock this new 2020 version takes back the original name of Big Cat. Also new for 2020 are two solid black weights and Big Cat now has additional accented glyphs for eastern European countries. If you're looking to make an authentic 1800's broadside poster then Big Cat is perfect for the job, combine it with other woodtype fonts from our collection.

Jantar Flow is a humanist sanserif type family tailored for continuous reading for both printing and screen. With its large x-height and low contrast it also performs very well in captions, side notes, and short paragraphs set in small sizes. Jantar Flow Italic is distinct and readable. Following a proper italic construction, it shows the fun side of the family yet keeps the features of the upright. Jantar Flow – as well as its teammate Jantar Sharp – comes in seven weights from ExtraLight to Heavy, each with accompanying italics. It has a tabular and proportional set of figures in both old style and lining options, and also a special set of hybrid figures sitting between x-height and capitals. Superscripts and subscripts are provided together with a vast collection of diacritics covering all European languages as well as a set of case-sensitive characters. Jantar, the pairing superfamily. ‘Jantar’ is an old Polish name for ‘amber’, a fossilised resin – a substance that is robust and organic at the same time. These qualities somehow reflect the feeling behind the Jantar families, ‘Flow’ and ‘Sharp’. Jantar Flow was designed along with Jantar Sharp. As part of the Jantar superfamily these two faces are perfectly paired: though not based on the same skeleton, they share the same design parameters and the same character set, but each one works independently with its peculiar features. Designed for publishing for print and web, as well as for branding, the Jantar superfamily was inspired by common font pairings of the digital age like Helvetica/Times or Verdana/Georgia. Jantar Flow and Jantar Sharp communicate with individual yet complementing voices, just like two trained acrobats can perform alone but also know well how to perform together.

Thurbrooke is an early 20th century inspired display family, offering two sizes of Roman capitals. Five typefaces are offered in the Thurbrooke family. The Regular face is shaded in horizontally engraved lines and suggests something of vintage advertising captions. A reversed 'Reverso' face, transposing black and white space is offered, as is a 'Black' face with solid letterforms. The remaining two faces are a bit more specialised. Thurbrooke 'Banner' is the latest in our popular line of masthead or cartouche faces-very impressive for banner headings. Thurbrooke Initials is a set of initial capitals, which blend in perfectly with Thurbrooke Reverso, or which also make splendid drop capitals. Why not explore some (or all) of the elements of the Thurbrooke family today, and introduce some early 20th century inspired colour to your work?

SK Paragrapher™ is a monumental geometric typeface whose structure was inspired by the paragraph glyph. The entire typeface is built on a rhythmic composition and a black-to-white balance. Each character corresponds to a grid, and all its characters are monospaced, so the typeface looks harmonious and complete, despite the complexity of perception of its appearance. This typeface has both uppercase and lowercase letters, as well as a capital! The typeface supports a multilingual layout that includes: extended Latin and Cyrillic characters, additional characters, and Hebrew. This typeface also includes more than 10 currency symbols, as well as 4 fonts: Solid, Outline, Rounded, Sharp! As a result, SK Paragrapher is a multilingual, monospaced geometric monumental typeface that contains almost 1000 glyphs for your any design work, be it a poster or a website!

In Amaboxi the upper-case letters are all placed upon a background inspired by the cardboard boxes that many people in Africa use to carry their possessions. The box takes its shape from the character and conversely, the character is influenced by the shape of the box. All characters except the six "fractions" are included in Amaboxi. It includes all upper and lower case letters as well as all numerals, punctuation, accented and special characters. All characters have been letter-spaced and kerned in terms of the box (not the character). This improves legibility, however, the inter-character spacing has been minimized so that there is often a very slight overlap between the boxes of adjacent characters. This generates an exciting and variable "white space" around the characters.

In the early 1960s, the Duro Decal Company of Chicago, Illinois added to its line of water-applied decal lettering a retail sign cabinet of die-cut, pressure sensitive vinyl letters and numbers. Four of the six sizes offered for sale were cut from white plastic with a black outline and a secondary gold inline for a tri-color effect. Sign Stickers JNL emulates as closely as possible the look of these nostalgic pieces, complete with the slight shifts in line weight due to hand-cut silk screens and the printing process. For those of you who prefer to make your own multi-colored letters, a three piece fill font set is available for the low price of a single font purchase. Combine the backfill, midfill and frontfill layers for a truly retro look!

Balboa Plus is a condensed sans serif display family. It was originally conceived as a simple black and white typeface. But it seemed unfinished, begging for something more. I decided to try adding a couple layers of fill and detail to try and make it interesting. The result is this four-layer chromatic font family. The Primary Font is the Main Font. The other fonts ( Fill, Inline, and Gradient) only exist to support the Primary Font. The Fill font should sit behind the Primary font (there is a little color trapping going on). The rest is even easier. There is a free downloadable PDF Balboa User Manual in the Gallery section for this family. It has samples and some backstory. Balboa™ is a trademark of Parkinson Type Design.

Hando Soft is a variant of Hando neo grotesk sans family. Each letter on Hando Soft has curve strokes end, which gives a soft and more ease-looking letterforms. Hando offers a wide range of usage possibilities. It's low x-height and variety of light size options make it a good choice for reading, it's tenuous white spaces in the counter letterforms make it legible enough to be recognized remotely. It's curved tensions on the circular letterforms gave a futuristic impression. It's sleek and simple strokes make it perfect for a broad range design purposes. Hando consists of 10 styles from Hairline to Black with each matching oblique. Contains more than 440 glyphs that support a broad latin language. Also some Opentype features e.g. stylistic alternates, variation of figures, e.t.c

The rasterized square (clear, therefore 4 as part of the font name) was the constructive basis. The intention was to put all characters within this grid and produce a highly structured, yet lively, resting in itself, display font. Relaxed but exciting, just. An absolutely noteworthy detail are the classical construction principles (based on a typography book from the 50's for poster designers), the so-called optical weighting, derived and slightly exaggerated character elements: The characters are not purely symmetrical and the curve shapes do not close justified with the surrounding square. Loops and tongues slightly hang over; the upper bows are slightly less protruding than lower ones, etc. The kerning is tuned to fit these design details: the white space between the characters match the same filling space.

Joost Schmidt?s (1893?1948) name is undoubtedly connected with monolinear condensed letters of geometric appearance ? his unfinished draft of a stencil alphabet, constructed on grid paper in 1930, is much lesser known. These modular shapes simply consist of half circles, quarter circles and square strokes with half-round terminals. From just six original letterforms (a, b, c, d, e, g), Flavia Zimbardi completed Schmidt?s draft and extended it to a full character set for contemporary use, adding upper case letters and different figure sets including old-style. Joschmi overcomes legibility issues usually associated with this stencil style, with special attention to the design of white space. Zimbardi lends the face even more character by carefully adding round terminals in subtle spots of the alphabet, accessible through stylistic sets.

Lapture is based on the Leipziger Antiqua by Albert Kapr, released in 1971 by the East German foundry Typoart. It has been extended and carefully redesigned by Tim Ahrens in 2002-05. The strong calligraphic characteristics are a result of the design process: "The size of the counters and the width of individual characters at small optical sizes were analysed with a steel pen while the letter shapes were designed in larger size with a specially trimmed reed pen. Sometimes the hand is more innovative than the head alone," says Kapr. A unique feature of this font is the introduction of gothic shapes into a latin typeface. "The basic concept is to string together narrow white hexagons as counters and inter-letter spaces, defined by vertical stems and triangular serifs. The interior spaces are at least as important as the strokes that make up the characters." Lapture is an ideal choice if a reference to gothic style is desired, as true black letter types are often too eye-catching and not as legible as latin fonts for unfamiliar readers. "The last few years have seen a number of very elegant typefaces based on the mellow and feminine renaissance model. However, sometimes we require a font that is strong and robust, harmonic yet rigid," says designer Tim Ahrens. JAF Lapture is provided in OpenType format. Each font contains more than 600 glyphs, including true small caps, nine sorts of figures, contextual and stylistic alternates and accented characters. This means that you only need to purchase one font whereas in other families you would have to buy two or three fonts in order to get the same. Technically, they follow the Adobe Pro fonts and provide the same glyph set and OpenType functionality. JAF Lapture Basic is provided in OpenType format. Each font contains the standard sets of both MacOS and Windows. In contrast to JAF Lapture they do not provide any advanced OpenType features and no extended glyph set.

Indulge your aesthetic sensibilities with Maychurch, a typeface of unparalleled grandeur that evokes the most magnificent architectural styles of history. Inspired by the meticulous craftsmanship of drafting technicians, this font is the pinnacle of precision and refinement. Maychurch is the perfect choice for those who appreciate the grandeur and opulence of Georgian, Neoclassical, Federalist, or Victorian styles. It exudes a timeless elegance that transports the viewer to a world of grandeur and sophistication. With its bold, clean lines and intricate details, Maychurch will make a bold statement in any design project. It captures the essence of grandeur and timeless elegance, conjuring images of awe-inspiring landmarks such as the White House and the British Museum. So why settle for ordinary typography when you can have Maychurch? Elevate your designs to new heights of sophistication and beauty with this architectural masterpiece of a font. Make your mark with Maychurch and impress your audience with a sense of refinement and taste that is second to none. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Neue Haas Unica™ family is an extended, reimagined version of the Haas Unica® design, a Helvetica® alternative that achieved near mythical status in the type community before it virtually disappeared. Originally released in 1980 by the Haas Type Foundry and designed by Team ’77 — André Gürtler, Erich Gschwind and Christian Mengelt— for phototypesetting technology of the day, the design was never successfully updated for today’s digital environments – until now. Toshi Omagari of Monotype Studio has given this classic a fresh, digital facelift with more weights, more languages and more letters to meet today’s digital and print needs. Available in 18 styles, the Neue Haas Unica family is remarkably appropriate for a wide range of applications, possessing a delicate gradation of weights and clear character shapes. The family's lighter weights are perfect for headlines and other large settings, as well as small blocks of copy at typical text sizes. The regular, medium and bold weights know no boundaries and the heavy and black designs are ideal for when typography needs to be powerful and commanding. Like the Neue Helvetica and Univers Next typefaces, the Neue Haas Unica family can be used just about anywhere – or for any project. In addition to its 9 tailored weights and complementary italics, the Neue Haas Unica family also possesses additional characters for Eastern and Central European, Greek and Cyrillic language support, which did not exist in the original design. A cosmopolitan typeface for today's modern, discerning design needs, the Neue Haas Unica collection is a new classic in the making—one that every designer should surely have at their disposal.

At VetteLetters we like food but we also appreciate our drinks. Yes, of the non-alcoholic kind as well. Like milk. Contrary to what Arnold Schwartzenegger once said, Milk is not just for babies. It contains a whole lot of stuff that is genuinely good for you. Like proteins, carbohydrates, minerals (calcium a.o.) and many vitamins. One time visiting The Hague, Donald DBXL spotted a tile tableau on a brick wall, advertising a dairy factory called ‘De Sierkan’. Yellow sans serif letters on a bright blue background, dating back to the late 19th century, immediately grabbed DBXL’s attention. Especially because the tableau showed both regular and bold letters with some lovely peculiarities here and there. De Sierkan appeared to have been a milk factory solely operating in The Hague from 1879 until 1961. A number of these wall adverts are still to be seen in The Hague streets today. Photos were taken for later reference. Later is now, the lettering has been digitized, missing characters added, and VLNL Melk sees the light of day. VLNL Melk is an all-caps geometric display sans serif family of three weights, Regular, Bold and Black. The basic shape of the letters is a rectangle with rounded corners, leaving a sturdy no-nonsense look and feel. It has a distinct historic aura, but with both feet in this digital day and age. It can equally well be used for the logo of a hipster coffee place, as the cover of a historic novel. Actually, VLNL Melk kan be applied in a wide range of designs like logos, posters, flyers, book covers and magazine headlines.