This is a radically modernized uncial with many OpenType features and 415 characters: Caps, lower case, small caps, numerators, denominators, accents characters and so on. There are 21 ligatures. It is an experimental look at medieval writing for the 21st century.

PB Roman Uncial Vc is a font face designed for imitate Roman uncial writing style found in manuscripts from 4th to 5th century. All characters are handwritten by use ink and reed pen (calamus), scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Character set support codepages: 1250 Central (Eastern) European, 1252 Western (ANSI), 1254 Turkish, 1257 Baltic. Include also additional characters for Cornish, Danish, Dutch and Welsh language, spaces (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.), historical characters (overlined Roman numerals, abbreviations, I-longa, historical ligatures for "nomina sacra" and "notae communes") and wide range of ancient punctuation. OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Alternative Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Stylistic Alternates, Stylistic Set 1, Historical Forms, Historical Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software. Historical ligatures for "nomina sacra" and "notae communes" are mapped to Private Use Area codepoints.

PB Roman Uncial IIc is a font face designed for imitate Roman uncial writing style found in manuscripts from 1st to 2nd century. All characters are handwritten by use ink and reed pen (calamus), scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Character set support codepages: 1250 Central (Eastern) European, 1252 Western (ANSI), 1254 Turkish, 1257 Baltic. Include also additional characters for Cornish, Danish, Dutch and Welsh language, spaces (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.), historical characters (overlined Roman numerals, I-longa, historical ligatures for "nomina sacra" and "notae communes") and wide range of ancient punctuation. OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Alternative Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Stylistic Alternates, Stylistic Set 1, Historical Forms, Historical Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software. Historical ligatures for "nomina sacra" and "notae communes" are mapped to Private Use Area codepoints.

I was immediately fascinated with the font, Breitfette Unziale, used for Erol Büyükburç's Hop Dedik album cover when I discovered this album. I designed a completely brand new typeface that is inspired by it called Erol Unziale but I also wanted to digitize and revive this typeface since I couldn’t find a digital version of it anywhere online. I took some liberties with the original font and customized it to my liking. Here is my interpretation of Walter Haettenschweiler's font through digitization.

Unzial typefaces consist of letter forms of the Capitalis Monumentalis and the majescule cursive. The origins of Unizial faces date back to the 5th century. The Neue Hammer Unziale was developed from the Hammer typeface, which was designed by Victor Hammer in 1921, cut by A. Schuricht and appeared with the font foundry Klingspor in 1923. In 1953, American Unizial 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 has been a favorite for certificates and diplomas and is recommended for headlines and shorter texts in a point size of 12 or larger.

When Social Gothic first launched in 2007 as a basic single font, it became an instant branding and advertising favourite. It was used widely by a few major fashion outlets and department stores, then soared to new heights of exposure when it became the billboard-cause standard face for a few charity outfits and political organizations throughout Canada’s major urban centres. Social Gothic is a unicase font that combines standard sans serif elements with some distinct “wooden” shapes and oval lowercase components, to make for a totality that achieves a handmade look while maintaining a clean, legible, understated and easy message delivery. It is a gothic with quite a few humanist leanings, something seldom found in the sans serif genre. This retail Social Gothic family is the re-conceptualized, refined and optimized redux of the many bespoke versions that were commissioned and customized for various proprietary brands and projects over the years. The remastered set consists of four multi-script weights, rough and soft variations, and a very unique stencil treatment. Each of the Social Gothic fonts contains over 550 glyphs and support for Latin, Greek and Cyrillic languages.

Microbrew Unicase is the latest addition to the Microbrew family, a versatile retro display family. Microbrew Unicase has 14 individual styles plus a very functional set of catchwords, and a fresh and eclectic set of retro-style ornaments. Microbrew Unicase sports a nice mix between wood type poster style, and vintage letterpress. The more detailed styles work well at large sizes, and the cleaner styles add legibility at smaller sizes. Microbrew Unicase is an all caps display font, but the lowercase act as alternates. The uppercase are all uppercase letter forms, while the lowercase is mixed. Type in all caps to be a buzz-kill. Mix upper and lowercase to have a little fun. Or type in all lowercase to have a party! (more informal) For super-easy alternates, just mix uppercase and lowercase letters. To add to the realism, Microbrew Unicase includes double-letter ligatures. Microbrew Unicase also includes a set of extremely intentional and eclectic ornaments and symbols. Designed to give a vintage feel, the ornaments and symbols compliment Microbrew nicely to round off the family. The ornaments also include old style numbers, and lots of retro symbols. Don't let the name fool you, Microbrew Unicase is very versatile and works great for almost any subject matter, including weddings, birthdays, restaurants, coffee shops, music, and many more. Opentype features include automatic fractions, subscript numbers, superscript numbers, and double-letter ligatures.

Akira Kobayashi modified his Eurostile Next design into a fun unicase version. Ascenders and descenders have been traded in for alternates of letters that all share the same height. The effect is similar to using all caps, although this is quite a bit more quirky. For example, letters like the lowercase a and e are now the same height as their capital versions and the lowercase y has been raised to fit between the baseline and top height. Odd relationships such as these give Eurostile Unicase a fresh and funky feeling. Try using it for headlines and titles, then use Eurostile Next for the body text!

Construkt is a unicase hybrid headline typeface characterized by its sleek curves and extended forms. The family of 3 weights and alternative characters allow for greater versatility and a variety of upper and lowercase effects.

Vivala Unicase is a modern, rounded linear grotesque that is easy to read even in small font sizes. The composition of uppercase and lowercase letters results in a unique typeface. The new version contains five weights, including a boldface, which greatly expands the design possibilities. With an extensive set of characters and symbols, it is ideal for posters, t-shirt design, promotional products, car design, labeling, trademarks and headlines.

Proudly Presenting, Social Melinda a Cute Handwritten Font Social Melinda is perfect for any titles, logo, product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Social Melinda also come with Multi-Lingual Support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank You!

Auge Unicase is a sans serif display font, extra-condensed, with a unicase style. It is a geometric and very modular font that has a "modern-vintage" feeling. It is good for titles and short texts. Auge Unicase has a set of alternates, accessible by contextual alternates and stylistic set. It was designed following the Underware Latin Plus character set, supporting 219 Latin based languages (see https://underware.nl/latin_plus/languages/). Version 1.1 now has Cyrillic support and 757 glyphs.

Introducing our newest Signature font Untitled Artwork. Untitled Artwork Signature is made as elegant as possible for the use of your design project. It is suitable for a variety of design projects, including logos & amps, branding, wedding designs, social media posts, advertisements, product designs, magazines and more. There it is! I really hope you enjoy it - comments & likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question. Now just read this, go there and make it happen.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

An elegant, stylish unicase font with alternative lower-case letter-forms designed to fit the capital’s X-height. The lower-case forms are available in many of the lower-case keystrokes, with even more available as “stylistic alternates” or a “stylistic set”, which can be activated in Adobe apps. Eye-catching, sophisticated and contemporary. Available in five weights. A more sober companion to the original op-art version of “Dazzle” .

Driven Unicase Extended is sleek and modern, yet hearkens back to the first advertising to catch my eye as a kid in the glorious 1970s – automobile ads that captured the thrill of speed, for sports cars I dreamed of experiencing. Driven is available in 6 individual weights or as a family of 6 fonts, plus ornaments. Includes accented characters supporting for many European languages.

The Social Networking Icons font family has been designed to simplify the process of routinely loading and pasting social icons around, for both print and on the web – reducing server load and saving time. They are great for embedding in webpages or for use on product packaging, posters, flyers and other marketing materials. Comes with a PDF guide and an interactive symbol sheet with labelled icons for reference. v4.0 Is out now with multiple improvements and updates on most icons.

Another member of the JollyGood family, this unicase version is a great way to add some fun to your headlines. It has a very complete character set, with support for western and central european languages. I've also included ligatures, alternate characters and some fun dingbats. It has 7 weights, and a rough version too.

Social Gathering JNL is modeled from the Art Deco hand-lettered title of a vintage piece of sheet music entitled "Three of Us".

The movie poster for the 1934 comedy/crime drama “Jimmy the Gent” (starring James Cagney) featured the title hand lettered in an ultra-bold Art Deco sans serif style. This type design has been turned into Social Club JNL, and is available in both regular and oblique versions.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

SK 1980 Unicase is a font that emerged with a modern interpretation of the 80's design concept. It was specially designed to create structural forms. Each character is the same size, so you can create structural designs without any difficulty. Includes 7 different versions and 2464 glyphs.

a classic wood type font, in an attractive set of variations

A fun, playful font using monospaced handwritten unicase letters. (Turn kerning off for true monospace)

First of all, I don’t have an uncle called Edward, nor do I know anyone by that name. When I had finished this font, it had a strong ‘Uncle Edward’ feeling to it, so the name stuck. Uncle Edward is a handmade script font. I used a Japanese brush pen and some rough paper to create that ‘vintage’ look. Use Uncle Edward for your book covers, your invitations or your product packaging. Create labels for your vintage record collection with it, or print a guest list for your Christmas dinner party. Uncle Edward gives you his blessing. Comes with ligatures for double letters and a whole bunch of accents.

Meet Uncle Lee - a hand drawn and playful serif! An upper-case-only font with upper-case-variants on the lower-case letters. With three happy versions - regular, outline & thin - you just can't go wrong! Don't forget to pay Auntie Lee a visit!