I have always enjoyed this typeface and have had fond memories from the time I originally drew its predecessor, Kari. Now with almost 100 new ligatures, alternate and swash characters, Kari Pro has a great deal more personality and versatility. Subsets from the original Kari have been integrated into each unified weight adding both lining and hanging (oldstyle) numerals as options as well.

Czech Tales font is a fantasy curly typeface inspired by the traditional Czech fairy tales. With a wide range of accented characters it supports the Basic Latin and the Western, Central and Eastern European groups of languages. It also includes some Open Type features such as alternates and over 100 ligatures. Designed in the Czech Republic at the end of 2012.

«Fluse» is an accidental sans-serif font. It has an angular design but smooth and sleek shapes. The font is suitable for both active titles and medium-sized texts. It can also be an accent in a poster or the basis of a corporate identity. Fluse supportsBasic Latin, Cyrillic and more than 100 languages all together. The font was designed by Viktor Pesotsky.

Marshlord is a modern handwriting font with signature style. It included opentype features Ligature. Marshlord support multilingual more than 100+ language. This font is good for logo design, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Marshlord font. Cheers, MaulanaCreative

Response is 100% handmade with a worn look to it. Comes with 5 different versions of each letter, and by using the contextual alternates they automatically cycles as you type! Response is good if you need a response regarding your next project - that being an invitation, packaging or something that needs a worn handmade look! Besides that, Response is full of international characters!

The Zapf Dingbats originally had been a selection of 360 symbols, ornaments and typographic elements from over 1200 designs. (For the first time a lady's hand is shown for the index symbol, the fist). The exisiting Zapf Dingbats offers a small selection out of this great offer. Therefore Hermann Zapf created new symbols for the set of the Zapf Dingbats, which are available today from Linotype as "Zapf Essentials?" 6 fonts with new and fresh symbols like fax, cell phone and internet symbols.

Bannertype is – at least for my feeling – the most German of all fonts. It was used heavily mostly in newsprint and advertising in the early 1900s. I designed a dirty version of the narrow font in 4 stages of dirtiness, plus one free shadow font. Since the font has too many points I cannot generate a OTF-version, I am over the limit for that. But I have tried this TrueType version and it works like a jiffy in MacOS 10.8.2!

This series of faces was designed initially by Morris Fuller Benton, circa 1900. The design is a refinement of Taylor Gothic from 1897. It features a sans serif thick and thin design with angular stems. Pre-dating art deco, this design feels quaint, yet it still has a touch of modernism. Frederic Goudy designed a bold version of Globe Gothic in 1905 for ATF. The Bold and Bold Italic digital versions have been added to the LTC library in early 2007.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Jefferson Pilot’s unusual letter treatment isn't for every project, but for projects that need a great "old-timey" look, it’s perfect. Named for a city in East Texas that was a port city on the late 1800s, but today is landlocked. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

This font was inspired by the very well-known humanistic script called "Cancellaresca". This variant was used by a lot of calligraphers in the late 1400s, specially by the Venetian Giovannantonio Tagliente, whose patterns were mainly used for this font. You can compare this with 1610 Cancellaresca. Numerals were inspired by Da Vinci manuscripts, from the same period. We added accented characters and a few others not currently existing at the time. A lot of titling alternates and ligatures are also included.

The first Century typeface was cut in 1894 by Linn Boyd Benton in conjunction with T L DeVinne for the Century Magazine. It was a blacker, more readable face than the type previously used. Morris Fuller Benton designed the Century Expanded version in 1900 for American Type Founders to meet the Typographical Union Standard of the day. The 'expansion' was in the vertical plane. Century Expanded is a useful font family for text setting in magazines, books, presentations and newsletters.

Popular music of the early 1900s included a genre called two step; round dances utilizing a sliding step with a tempo in either march or polka time. 1911's "Daughters of the American Revolution" was one such march/two step. The cover of the sheet music had the title hand lettered in a slightly rounded sans serif type design in the Art Nouveau style popular during that era. It is now available as Two Step Nouveau JNL, in both regular and oblique versions.

Sombrieul is Greater Albion’s greatest and grandest Edwardian display typeface yet. Just the thing for any project with a late 19th/early 20th century inspiration. Sombrieul has a LOT of opentype features:- stylistic alternates, ligatures, discretionary ligatures, small capitals, title forms, swash capitals, old-style and lining numerals, numeral title forms. Of course, these features don’t allow for infinite variability in appearance, there must be some limits after all! They do allow for a lot of variety, however! There are over 1,000 glyphs...

Elaborate high-quality three-dimensional initials, with shadows, in various styles including numerous exotic letters, incorporating vignettes, flourishes, stems, flowers, vines, and other decorative elements. These masterpieces of typographic art were inspired by Italian hand-etched designs dating back to 1839. Includes one set of A-Z ornamental initials conveniently assigned to both the upper and lower case alphabet characters. Perfect for starting off the beginning of paragraphs in artistic publications, storybooks, fairy tales, and texts conveying the feel of the 1800s.

A heavy unnamed Gothic typeface from the 1890 William H. Page Foundry woodtype specimen book provided the template for this bold, brash, no-nonsense face. It's designed to set tight, so your headlines will definitely get noticed. Named for a town in West Central Texas which is noted for being the home of the Buffalo Soliders in the late 1800s. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

What's so funny 'bout peace love & understanding? Nothing really. Love and Peace is an Art Nouveau style typeface inspired by Eckmann-Schrift by Otto Eckmann in 1900. Love and Peace is filled with ethereal elegance and it's great for posters, magazines and psychedelic LP covers. Love and Peace is equipped with few Contextual Alternates and Standard Ligatures to prevent characters from colliding. In addition it has Stylistic Alternates for lowercase a, k, r and s, and Swash Alternates for ampersand and dollar sign.

In a career spanning the early 1900s through 1940, George M. Cohan wrote and produced over 50 plays, 300 songs and was also an actor, singer and dancer. Many of his works honored his Irish roots, and the cover of one piece of sheet music called “The Irish American” (1905) had its title hand lettered in a condensed Art Nouveau type design with tiny spurred serifs. This is now available digitally as Dress Rehearsal JNL, in both regular and oblique versions.

Astonice is a beautiful calligraphy font family with 3 weight variants: Regular, Semibold and Bold. Astonice has more than 1100 glyphs each, has opentype feature such as stylistic sets, stylistic alternatives, and old number form. Astonice supports a wide range language: Latin plus Greek and Cyrillic. Astonice is suitable for most typing and design such as cards, logos, banner, posters and others as you intended. Beautiful glyphs, OpenType features and 3 weight, Astonice provide you the right choice for your best design.

The inspiration source for MFC Billow Monogram is a beautiful letterset from the "Manuel de Broderies No. 179" by N. Alexandre & Cie. from the late 1800's. We've drawn out some flourishes and ornamental glyphs based on the original design in order to offer more versatility with this monogram. Experiment with the flourishes in different combinations. You may be surprised at what you can create! Download and view the MFC Billow Monogram Guidebook if you would like to learn a little more.

Sweet Gothic is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century.  Sweet Gothic Light is closely based on lettering from an engravers pattern from the early 1900s that was used for tracing letterforms with the engraving machine (pantograph) to make steel engraving plates. The design is related to many similar engravers gothics developed in the early 1900s, but as each engraving house created by hand their own patterns for popular styles of the time, there is variation among the models. Sweet Gothic offers contrast in stroke weight and its unique personality. The bolder weights are new designs, based on the characteristics of the Light. A serif variant (Sweet Gothic Serif) has also been developed to expand the usefulness of the family, offering an alternative to Copperplate Gothic. As such, most of the fonts are new designs, yet may seem familiar and ubiquitous given their model. The fonts offer two sizes of figures and monetary symbols: one set is intended for use with upper- and lowercase settings; the second set is the same height as the small caps.

Sweet Gothic Serif is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. It is a serif variant of Sweet Gothic. Sweet Gothic Light (without serifs) is closely based on lettering from an engravers pattern from the early 1900s that was used for tracing letterforms with the engraving machine (pantograph) to make steel engraving plates. The design is related to many similar engravers gothics developed in the early 1900s, but as each engraving house created by hand their own patterns for popular styles of the time, there is variation among the models. Sweet Gothic offers contrast in stroke weight and its unique personality. The bolder weights are new designs, based on the characteristics of the Light. Sweet Gothic Serif has been developed to expand the usefulness of the Sweet Gothics, offering an alternative to Copperplate Gothic. As such, most of the fonts are new designs, yet may seem familiar and ubiquitous given their model. The fonts offer two sizes of figures and monetary symbols: one set is intended for use with upper- and lowercase settings; the second set is the same height as the small caps.

Eksperiment is danish for experiment. Without much guessing or knowledge to danish, you probably already knew that! I like those danish words containing a "k" - is it because my name is spelled with a "k"? I don't know - maybe it's because it kind of represents the danish language, which is full of words with "k"s. Anyway, the reason for the name is that I wanted a font looking like it had gone through tough times, a bad copy machine and perhaps even crumpled paper...but the experiment is that the font is 100% made using digital media. I used my MacBook and my iPad creating this font. I find it quite amusing, that something 100% digital looks like something organic. I've added 5 different versions of each letter, which is really helpful when working with grunge fonts. It looks more natural, when the same letter rarely repeats itself.

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

Second Lesson is a classic handwriting typeface. A calligraphic typeface family, Second Lesson follows the flowing and traditional handwritten typography taught at school. The script lettering is provided in styles Regular and Bold, and consists of over 1000 glyphs and support all Latin based languages as well as Russian, Bulgarian and other Cyrillic languages. Drawn and created by Mans Greback in 2021, this lettering has a slanted style and a beautiful personality. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It also supports Cyrillic. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Abella Script, is a calligraphy manuscript, handwritten modern and classic, so soft, perfect for your next design, such as logos, printed quotes, invitations, cards, product packaging, headers and anything else about your imagination. Abella Script allows you to create custom dynamic text. you can access by turning on; Stylistic Alternates, Swash, as well as ligatures in Photoshop, Adobe Illustrator, Adobe InDesign or through a panel of glyphs such as Adobe Illustrator, Photoshop CC, Let's switch from the regular character into character alternative to get the text with the layout of your dreams. Abella Script features 1000 glyphs and has given PUA encoded (specially coded fonts), with tons of alternate characters. The pack can be accessed in full by any crafter or designer, without the requirement for extra design software. Language Support Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Faroese, Finnish, French, Frisian, Galician, German, Icelandic, Italian, Malagasy, Norwegian, Portuguese, Spanish, Swedish.

It all started with the letter S. I drew it, I liked it, I based a font around it! This is Pickled Limes, a tall and narrow single-case font. It's built clean from the ground up, for ultra-sharp lines and corners, as well as super-smooth curves. The slightly flared ends and quirky character mix make this font a ton of fun to use on its own, but it will also pair well with tons of hand-written styles! I've branched out on this one; in addition to over 300 Extended Latin characters, I've also included Unicode's 256 Cyrillic and 121 Greek characters for even more language support. Add in the 90+ alternates, ligatures, and catchwords, and Pickled Limes clocks in at just over 1000 characters. I hope you enjoy using my tasty Pickled Limes for your branding project, logo, crafting work, or design project. Happy fonting, MyFonts fans! :)

Nearly a hundred human heads, in three dingbat files. The whole series comes from the sketchbook: the original ink drawings were then digitized and refined to create vector outlines. Rather than perfectly smooth, geometrical shapes, the Entestats, like their close relatives in the Capsbats series, the Entestats retain a handmade look and feel. The Entestats are ready-made illustrations, though of course they will appreciate being enriched with colours, textures, an imaginative layout... and use them for a variety of projects. Use them small, as spot illustrations or as big as a whole page or page spread. The Entestats and their kin, the Capsbats, are a terrific resource for presentations, packaging, logos, brochures and advertisements, to name a few applications. The book 1000 Heads is a compendium of the drawings featured in the Capsbats and Entestats and it gives a glimpse of the limitless applications of this collection.

Tondu is a straightforward display typeface inspired by film posters of the early 1900s. Strong upright forms combined with smooth curved details create a clear and bold font ideal for apparel, billboards, books and posters. Tondu is now available as version 2.0 (2021); the remastered version meets higher technical standards that modern-day users demand. Included in the font are over 490 characters, in one heavyweight style. Opentype features consist of digital numerals, lining figures, fractions and language support covering Western, South and Central Europe.

Inspired by the elegant, rounded geometry of classic sans-serifs like Harry™ and Cirkulus™, Evcial was designed in 2000 to serve as the logo font for EVCco's website. The composition of each alpha-numeric glyph in Evcial is restricted solely to circular curves and lines of either 90 or 55 degrees, thus lending an air of chic consistency to this sophisticated typeface. Comes packaged in both TrueType and OpenType formats with standard complement of alpha-numeric glyphs, punctuation marks, mathematical symbols, and Western European diacritics.