The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

Cyntho Next Slab is a totally reworked typeface based on our previous bestseller Cyntho Slab Pro. Cyntho Next Slab is the slab serif companion to Cyntho Next . It is a modern geometric slab serif based on a hybrid waterdrop-like shape with extensive language support including Cyrillic, rich with OpenType features, perfect for magazines, posters, advertising, corporate identity, and much more.

Although Los Alamos was originally designed as a complementary sister typeface to Grand Canyon, it evolved into a comprehensive and unique type family in its own right. It incorporates a unicase that is fully interchangeable with the caps, and vice versa, giving the user many different options and looks. Los Alamos Pro includes over 800 glyphs and ligatures, and supports 131 languages.

This is a font to build a Hebrew Bible (Tanach) or any Hebrew prayer book. Magalith Tanach Pro has all Unicode Hebrew marks and others like ShevaNa, Dagesh Chazak, Qamats Katan, and Cholam Chaser. You can even hide marks You don't want to use. This font has a complex and exclusive Programmation of Opentype features. Adobe InDesign is the best program to use.

Tourist Gothic is a Lanston Monotype adaptation of Modern Condensed Gothic (a design from the late 1800s.) Rounded alternate caps were designed by Sol Hess in 1928. The alternate version is offered as LTC Tourist Gothic Alt. Tourist Gothic Pro combines both variations and includes a full Central European character set and several other OpenType features. Digitized in 2006 by Paul Hunt.

Horror/Metal/Punk upper case only font with varied double letters (open type feature). Open type Latin Pro with alternate upper case using the lower case, and varied double letters for an even more genuine handwritten look. (Open type feature.) Ink on paper, carefully and meticulously touched up digitally so that all letters will look good printed in bigger sizes.

Derailer’s eclectic character set is comprised mainly of disparate sans serif characters that claim to play well together. OpenType users also benefit from 52 ligature features that automatically substitute a unique pairing of letters when any upper or lower case character is keyed twice in a row. Derailer Pro extends the character set to support Eastern European Latin, Baltic, Greek and Turkish.

Picador Sans is a modern sans serif typeface. Intriguingly condensed. Distinctively eye-catching. Interestingly well-developed. This family covers latin script – every weight has more than 1200 glyphs. The whole family consist of 10 weights and italics, small caps, superscript and subscript letters, oldstyle, tabular figures, ligatures and fractions. Picador Sans is a perfect match for the elegance of serif Praho Pro.

A new dynamic and industrial display font with octagonal shape and rounded inner contours. Constructed with a modular system. It includes a full set of letters (uppercase), numerals, and symbols. Libertad Mono family comes with 6 weights, from Thin to Black. Designed by Radinal Riki Mutaqin. This type features a Latin Pro character set, covering multiple languages written with the Latin script.

Hello. this is the variable version of CalliSans : a revolution in typography. 14 fonts, 7 regular and 7 italic, seamlessly blend calligraphy's grace with sans-serif simplicity. Perfect for projects demanding elegance, from books to digital screens. Make a bold statement with its distinctive style. Timeless yet contemporary, it transcends trends. Your creative secret weapon. CalliSans Pro: where art meets design.

dingbats font inspired in pre-colombian signs

Sarcastic is a monoline display typeface. It draws influence from a visual language of mid-twentieth century consumerism: 1950s script typography and the rhythmic forms of interconnected neon lettering. Sarcastic is perfect for contemptuous quips, disparaging proclamations, and castigating commentary.

PORTAGE is a slab serif that carries its own weight. Adventurous and rugged, this typeface that evokes the wild country and makes headlines stand out. The typeface was built from a land and forest journal from the mid-50's.

Named for the island that I had the pleasure of calling home for four years, Samui Script is a lovingly made, hand-lettering-style, script font, with a bouncy baseline and exuberant character. Taking mid 20th century commercial lettering as its inspiration, it is no revival, or pale imitation of past forms. This font can be as contemporary as you need it to be, or as retro, or somewhere in between. A wealth of sophisticated OpenType features lie beneath the bouncy exterior, making for a versatile script font that performs well at headline sizes, but is also legible enough to set small amounts of copy.

Galak Pro is a modern geometric sans serif family characterized by its simplicity and extensive functionality.consisting of 9 weights ranging from Hairline to Heavy with matching italics. It supports Extended Latin, Cyrillic and Greek. This blend produce a typeface of modern, clean and contemporary appearance that has implicit on its core a classic vibe, nourishing the text with a timeless elegance.In use, the form and function balance of its design allow it freely travel through a diverse range of fields and possibilities like short text settings, brands, headlines or signage systems with grace and naturality. Galak Pro is available in variable font format and in 18 different individual styles (9 weights), with a set of supports over 200 latin languages and including an extensive repertoire of opentype features like small caps, ligatures, stylistic alternates, proportional and tabular figures,and many other resources to please your typographic urges.

Claude Duflos was a French engraver and printmaker at the end of the 1600s. He produced a great number of beautiful plates, executed principally with the graver very neatly finished. At the base of his work we can appreciate his legible lettering carefully executed with his particular ductus. During this period three different hands were developed in France: Ronde (an script deriving from “Civilité”), “Lettre Italianne” and Bâtarde Coulée that is a modification of ronde. The hand of joined letters, which lent itself to a rapid writing, became a model for English round hand or copperplate style. CDuflos is our typographic interpretation of the lettering style produced by Claude Duflos. CDuflos is presented in two versions: Basic and Extended Pro, which include diacritics for Central European languages. The Pro version also comes with a set of decorative glyphs including ligatures, alternates and swashes, including terminal letters and a set of ornaments.

Droid Sans Pro Mono is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. Droid Sans Mono features a fixed width (non-proportional) which is useful for developers to see code in a tabular setting and for viewing emails and other screens. Droid Sans is an approachable, friendly set of typefaces optimized for display on screen. Droid Sans Mono was designed to provide optimal quality and legibility. It features upright stress, open forms and a neutral appearance. Droid Sans Mono was optimized for user interfaces and to be comfortable for reading on a mobile handset in menus, web browser and other screen text. The Droid Sans Pro Mono Regular font contains Old Style Figures (requires an application that support advanced OpenType typographic features) and extensive character set coverage including Western Europe, Eastern/Central Europe, Baltic, Cyrillic, Greek and Turkish support.

Artistic Script Pro is a calligraphy script font that comes with exquisite change characters, a kind of classic decorative copper script with a modern twist, designed with great detail to bring out stylish elegance. Artistic Script Pro appeals as a typeface that is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, luxurious typeface. The classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or any kind of advertising purposes. I highly recommend using a program that supports OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all variations of Glyphs. If you need help or have any questions, let me know. I'm happy to help. Thanks & Happy Designing!

ATTENTION! See the newest version of Reina here. Reina Neue is now a family of 45 styles and it's also a Variable Font! Have a look. For the traditional version of Reina, you may stay here ;) --- Reina is Sproviero’s didone of the year. We recommend seeing its user’s guide . Inspired in the sweet letters of calligraphy and typography masters of our past; such as Didot, Bodoni and the incredible Herb Lubalin, its aim was to incorporate the decorative accolades from blackletter and copperplate styles of calligraphy into a Modern Roman typeface. Reina reflects sovereignty due to the enveloping atmosphere and the sensation of greatness that can be felt when using it. It has an unique way of standing over paper and screen, being its swashes responsible of an extreme elegance. Similar to what Lian did in his last font Breathe , Reina was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results. TECHNICAL Reina is a family with many members. In order to achieve better results when printing, Lian took his time to design the necessary styles: Reina 72 Pro, prepared for display sizes; Reina 36 Pro, for medium sizes; and Reina 12 Pro, the best for text or decorative words in small size. Each of these members have variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Reina Engraved Pro has the same features than the variants mentioned above. The family also contains variants which were made exclusively for decoration. These are: Reina Words, a set of the most common words used in english, german, italian, french and spanish; Reina Capitals, which consists in a big set of ornamented capitals; and Reina Fleurons, those little friends which always help to embellish our work.

Madison Street is a font family with 8 fabulously fun typefaces! Eliza Gwendalyn & Jim Lyles of Studioways have teamed up with Spencerian calligrapher Elaina DeBoard to create a classic pointed pen calligraphy font. From its ornamental monograms, to its variety of complimentary text styles, and to its Madison Street Pro, with its elegant stylistic swashes and OpenType goodies, there is a font for every designer. Enjoy the sleek Madison Street Sans, Serif or Script, paired with the Ornaments font, complete with ornate monograms, or use each typeface on its own! Madison Street Pro has all the OpenType bells and whistles. The Ligature feature automatically substitutes beginning and ending letterforms, as well as 100 ligatures. Turn on the Swash feature for elegantly sweeping swash lowercase forms. Enable Stylistic Alternates for even more variations. There are also 10 Style Sets to chose from. And many more OT features! Madison Street is a basic version of the Pro font, intended for users who do not have OpenType savvy applications. Madison Street Stylistic is also a basic version of the Pro font, intended for users who do not have OpenType savvy applications. It has stylistically different ascenders and descenders. Madison Street Swash is intended to be used with the basic fonts, Madison Street and Madison Street Stylistic. It has lowercase beginning and ending swash glyphs and cannot be used to set text by itself. Madison Street Sans, Serif, and Script are text fonts modeled after the handwriting of Elaina. They are intended to be complimentary to any of the script fonts. However, you'll need to set them at a smaller point size (about 1/3 the size) in order to get the preferred scale and weight. Finally, the hairline weight of the Madison Street script fonts is very thin, and at small sizes up to 40 pt, you may notice some breaking up when printing to desktop printers. To remedy this, we recommend outline stroking the text a small amount (.1 -.3 value). this should improve the output without adding to much weight overall.

Emulating real handwriting has always been an aim of font designers in the digital age. The standard mainstream scripts and doodles that were available for the longest time have not successfully reached that goal. A letter always looked the same wherever you placed it. Some workarounds, such as letter alternates and ligatures, were used in many fonts, but they were a bit inconvenient to use, and in some cases didn't work correctly because they had to be placed in separate fonts from the main character set. Not until now, with OpenType technology, have we been able to emulate real handwriting, by including multiple character sets in the same font and programming it for smart form changes through letter sequence counting. Secret Scrypt was the first Canada Type font to make it to the bestseller list in the summer of 2004. In early 2005 a New York restaurant chain picked Secret Scrypt to use on its menus and internal signage, but they wanted to look even more like real handwriting, where two or three instances of the same letter used in one word would automatically change and look different from each other. Using OpenType technology, Canada Type produced a Secret Scrypt Pro for that restaurant chain under the direction of Mucca Design in New York City. That initial version contained three different character sets in the same font, and some intelligent programming that determines the sequence of the letters and change their shapes accordingly. Now the retail version of Secret Scrypt Pro is available, with four character sets built into the font for even more variety on the real handwriting theme. Make sure to check out the Secret Scrypt Pro PDF in the MyFonts gallery for tips on using Secret Scrypt Pro. Secret Scrypt is perfect for menus, handwritten notes, theater programmes, charity organization posters, and any design that attempts to get close to people with the personal magic of real handwriting.

P22 Brass Script is a new font from an old source. This script font was discovered in a booklet from Dornemann & Co. of Magdeburg Germany, circa 1910. The book was titled Messingschriften fur Handvergoldung, which roughly translates to “Brass types for hand foil stamping.” The mini catalog called this type simply “Script.” It has not been previously digitized or seen in standard metal type form. The antique specimen book featured most of the characters needed for a full alphabet, but a number of letters were not shown. Since no other examples of this style could be found, P22 enlisted the assistance of master calligrapher Michael Clark to draw the missing characters in the same style as the original. The style is very loosely based on the secretarial hands and reminiscent of “French Hand” with a very early 20th century, pre-modern feel. It has an unusual flow that is neither too casual nor too formal. The font would be useful for wedding invitations or packaging and advertising. P22 Brass Script Pro features include: automatic ligatures for common pairs such as ll, tt, qu and a variety of f ligatures, full CE language support including Turkish and Romanian and a variety of swash underscores for different length words that can be added manually in OpenType ready applications with the glyph palette or with the contextual alternates. The length of the word will automatically select the best length of swash for the work.

Martin Wilke’s underrated yet influential deco classic from 1932 has both feet firmly planted in the high traditions of Western European calligraphy while carefully and subtly introducing some traits from the sweeping geometric/minimalist vision of the time. In a way, it was one of the representatives of the European anti-type typefaces of that era, when print media was searching for the elusive aesthetic balance between humanism and geometry. This typeface enjoyed some popularity in Germany for a few years, and went on to influence further type designs in Holland and Italy. After the second World War, the black hole that swallowed a big chunk of Europe’s print culture, new influences and technologies overtook the scene, and selective historical emphasis ensued, highlighting some of the era’s designs and overlooking others. Further selective picking in the digital era all but buried Wilke’s body of work - unfairly so, because he was just as important in German type history as Bernhard, Post, Schneidler, Tiemann and Trump. The original metal Wilke Kursiv came in one weight. This digital version goes a long way in expanding on that original offering. Now Wilke’s masterpiece comes in three weights, and with a full Pro treatment including swash caps, small capitals, five types of figures, automatic fractions, and plenty of other OpenType niceties. Each of the Wilke Kursiv Pro fonts comes with over 700 characters, and contains support for most Latin-based languages. Also available are three non-Pro fonts in each weight.

Macquarie Heavy was used for a logo back in the mid nineties and never completed until recently when I decided to revive it. It works very well in all-caps blocky headlines and is surprisingly legible in lowers with plenty of strength.

Based heavily on Gill especially in the mid weights, Astoria has a subtle top left serif which makes it not quite a Roman and not quite a Sans. Designed specifically as a text face it still works very well as a headline font.

Experimental, geometric, bold sans. Ideal for posters. Only posters, only large size! If you want tranquility and prim punctuality Barbecue is not for you. If you want use Barbecue for body text - you're crazy. If you want madness and hooliganism - Barbecue for you!

This set of two fonts is intended for use by kindergarden & 1st grade teachers or anyone else teaching young children how to write. 2 Fonts are included, PreCursive Lined has the upper, lower & dotted mid line & the the Regular has only the letters.

Town Meeting JNL (available in both regular and oblique versions) is a modified version of Mud Creek JNL (which was based on Tuscan Egyptian – a classic wood type). The side spurs were removed and the split serifs were replaced by slab serifs.

Inspired by mid-century greeting card hand-lettering, Sheree is a unique serif font with some really fun qualities. While some characters are distinctly calligraphic and conformist in nature, Sheree bounces all over the baseline, displaying an unconventional attitude all her own.

Informal is the work of lettering designer Martin Wait and is reminiscent of the late 1940s and early 1950s. Informal is worthy of its name and perfect for anything with a look of the mid-20th century or simply a casual, spontaneous appearance.

Based on retro vinyl records in the middle of 20th century. the mixture of funky, hippie and mid-century’s futuristics. There are three other fonts designed by in the same concept. -African Elephant Trunk -Moon Star Soul -Rebel Train Goes -Word From Radio

Designed in 2003 by Isay Slutsker and Irina Smirnova. Based on the calligraphic typeface of mid-1980 by Moscow type designer Isay Slutsker (1924-2002). There is a free variation of flat nib pen calligraphy. For use in advertising and display typography.

Bon Air was one of a series of script typefaces cut into wood by the Hamilton Manufacturing Company for the Morgan Sign Machine Co. (makers of the Line-o-Scribe showcard press) in the mid 20th Century. These were some of the last new designs cut into wood by Hamilton until the museum revival in the early 2000s. Bon Air was created in 1958 and trademarked in 1961. The wood type made for Morgan was used largely in department stores to make their own signage. The script styles are reminiscent of sign painters alphabets and evoke a Mad Men era advertising aesthetic. The font was only cut in four sizes: 12, 18, 36 and 72 line. It was distributed by Morgan for use in their presses, but as type high wood type, it could be used on any press. The font was issued with several alternate letters and ligatures to simulate the effect of hand lettering. Its lively strokes and odd details give it an exotic flavor suitable for advertising display work. The digital version includes all of the original alternates plus new characters to fill out a full European character set.

The Rockwell® Nova family is a sturdy, optically monoweight design with blunt, straight-edged serifs and a no-nonsense attitude. It's the quintessential example of the appealing and eminently usable slab serif type style. The 13 designs of Rockwell Nova make for a robust and adaptable typeface family. Based on the original Monotype Rockwell suite of fonts, Rockwell Nova is an exceptionally durable design that suggests feelings of frank honesty when set in text composition. It is also an exceptionally versatile display design that can be used for headlines, subheads - or virtually anyplace where a strong presence is required. Rockwell Nova OpenType® Pro fonts have extended character set supporting Greek, Cyrillic, most Central European and many Eastern European languages, in addition to providing for the automatic insertion of ligatures and fractions.

From the heart of the Blue Ridge Mountains, by way of Toronto, comes Martie's handwriting. Martie Byrd is a school teacher in Roanoke, Virginia, and a friend of Canada Type's Rebecca Alaccari. After years of admiring the cheer and clarity of Martie's handwriting, we asked her to write out full alphabets for some cool font treatment. The intent was to do three different versions of her writing in two different pens, then use the auto-magic of OpenType to determine letter sequences and rotate character sets on the fly when the fonts are in use. A successful endeavor it was. Take a look at the images in the MyFonts gallery to see the character rotation in action, along with a visual explanation of why Martie is not just another handwriting font. Unlike other available felt tip and ballpoint handwriting fonts, the regular and bold variations are style-based, not weight-based. They are the handwritten expressions of two different Sharpie pens: The fine point one (Martie Bold), and the ultrafine one (Martie Regular). The style-based variation considerably helps the realism needed in design pieces that take advantage of the contrast of two different handwriting fonts. Weight thickening in handwriting is an obvious mechanical effect that only happens with computers. Weight changing by replacing pens is what happens in the real world. Martie Pro and Martie Pro Bold each contain three different character sets in a single font. Language support includes Western, Central and Eastern European languages for all three sets. This translates into each Pro font containing over 750 characters. Add OpenType code and stir, and you have true handwriting fonts with versatility unavailable out there in anything else of the genre. A software program that supports OpenType features is needed to use the randomization coded in Martie Pro and Martie Pro Bold. Current versions of QuarkXpress and Adobe applications (Photoshop, Illlustrator, InDesign) do contain support for the randomization feature. But if you don't have one of these apps, you can still use the interchangeable Type 1 or True Type fonts and change the characters manually to achieve the appearance of true handwriting. The Martie fonts come in a variety of price packages, from the affordable single fonts to value-laden complete sets. All the proceeds from these fonts received by Canada Type will be donated 50/50 to two primary schools: One in Roanoke (where Martie teaches), and one in Toronto (where the 10-year old, real Canada Type boss goes). So next time a design project needs a handwriting font, do the write thing and use Martie to keep it real.

Elegant curly handwritten font, great fro your next invitation.