Graham Cracker is a fun, cartoony and child-like font that can't help but fill you with happiness! The font was inspired by hand-drawn lettering on an old 1960s movie poster, and contains over 175 interlocking ligatures that add a hand-lettered feel. Stylistic substitutions like this are where the OpenType technology really shines, allowing computer fonts to more closely mimic the variations of hand drawn lettering. The ligatures can be found under the Discretionary Ligatures OT feature, or applied from the glyph palette. Jukebox fonts are available in OpenType format and downloadable packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

Corleone was originally designed as a two font family in 2001 and offered for free. This year we've expanded the font family to twelve fonts including small caps and italics. While the new Corleone has been greatly refined and is a much more professional quality font we've decided to still offer the original two fonts for free. Corleone is the perfect font for t-shirts and other merch, the new small caps make this font stand out and bring attention to whatever you use it on. Corleone is the font you can't refuse. Tech notes: Corleone was designed after a famous movie logo in the 1970's with a title name that sounds a lot like The Grandfather if you know what I mean. The movies had three installments, my original font was patterned after the logo for the third movie, the new Corleone Primo and Secondo versions are patterned after the logos of the first two movies. The differences are noticed mostly in the lowercase letters. One thing you will not find in this font family is the puppeteer or puppet master hand because it's been registered as a separate trademark of Paramount Pictures. If you're using an application that works in layers then you'll be interested in the four extra over score glyphs included in some of the versions of this font. Sorry, MS Word does not work in layers so this feature will not work in MS Word. When you open up the glyph map in Adobe Creative Suite you should see the over score glyphs when you scroll down to the bottom. These extra over score glyphs allow you to extend the top line of a single capital letter, with four different lengths you should be able to mix and match to achieve the length that you desire. When using the over score glyphs it's best to divide your word or headline into separate text objects, the cap being one object and the remaining letters being the second. If you try using the over score glyphs on a single text object then with each over score that you add the text after it will get pushed down the line.

Awardos is a complete solution for awards, badges and all kind of certificates. This font allows to mix various borders, laurels and icons to create a very unique badges. To quickly create an unique badge, type any number, any uppercase character and any lowercase character, for example 0Aa, 5Gk, 9Kl, 7Fr etc. To add starfield, start with a symbol (!"#$%&'()*+,). Glyphs included: 12x starfields - characters: ! " # $ % & ' ( ) * + , 16x borders - characters: 0 1 2 3 4 5 6 7 8 9 : ; < = > ? 36x laurels and outer elements - characters: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z À Á Â Ã Ã Ä Å Ç È É Ê   12x crown icons - characters: a b c d e f g h i j k l 12x cup icons - characters: m n o p q r s t u v w x 12x number one digits - characters: y z à á â ã ã ä å ç è é ê It is not required to use a symbol from every category. For example only laurel with crown icon can be used, or only starfield with the cup icon. Awardos Inverse is an inversed version. The outline borders are still included, used symbols are: [ \ ] ^ _ { | } ~ ¢ £ ¤ ¥ ¦ § €

Made in Germany, Referenz Grotesk is a typeface full of references referring to the type design history of Stuttgart State Academy of Art and Design. Its typographic history holds a broad spectrum of shapes and characters, including F.H. Ernst Schneidler (1882–1956), Imre Reiner (1900–1987), Walter Brudi (1907–1987), Kurt Weidemann (1922–2011) and Frank Heine (1964–2003). During extensive research phases for Referenz Grotesk included collection and analysis. This led to further research in the Academy’s collection and archive where the majority of Weidemann’s estate is housed next to works of other designers and professors like F.H. Ernst Schneidler and Walter Brudi. Another place of research was the typesetting workshop where Schneidler had previously taught and worked. Some of his freshly cast fonts were tested and used there for the first time and are still stored in several of the type cases. Regarding the more recent history, for instance about the Emigre designer Frank Heine, former colleagues and professors have been consulted. These studies resulted in the new font Referenz Grotesk that includes traces of Kurt Weidemann’s Corporate as well as calligraphic hints that link to Schneidler’s Stuttgarter Schule (Stuttgart School) where writing played an important role during the form finding process. For the regular text fonts these features are integrated in a subtle manner whereas several alternative glyphs pick up more expressive forms. The final sans serif type family has a clarity and contemporary straightness that becomes more characteristic in its heavier weights. Additionally more than 60 alternative glyphs per weight allow for individual combinations that can be tailored specifically for each application and context. They open up a broad range of visual expressions, from subtle to playful and eccentric characteristics. Referenz Grotesk is available in six weights: Light, Regular, Medium, Bold, Extra Bold and Black, plus italics. In addition, the family includes multiple OpenType functions such as Stylistic Sets, Tabular Figures and Case Sensitive forms. Variable version of the font is included when you license the full pack.

Super Puff MX is a Y2K inspired variable display typeface that takes from early 2000's futurism, pop, and cartoon aesthetics. Due to its heavy weight and alternates it offers, it's perfect for a variety of logos, 3D, and motion graphics. SPMX was designed specifically for those use cases, and its wide range of styles and alternates gives you lots of freedom for creating unique graphics that still capture the same fun, futuristic, and playful early 2000's aesthetic. Features & What's Included: Variable font file that allows you to choose any slant degree from Regular to Full Tilt. OTF font files in 4 styles or slants, from Regular to Full Tilt. This is included because many young, talented designers around the world don't have access to programs that can take advantage of a variable font. I want them to have the option of using properly slanted and kerned oblique instances of Super Puff. Robust OpenType features including a vast pool of alternates and stylistic sets giving you lots of choices when choosing letters, numbers, and punctuation. Two stylistic sets for letters and numbers One stylistic set for punctuation and symbols One stylistic set that replaces punctuation with Y2K style icons Extensive Latin language support covering almost all of Europe and South America. All multilingual glyphs have access to alternates as well. Super Puff MX was designed and developed by Abe Zeinali/Xuveki.

My name is Teruyoshi Matsui. I am a Brush Art Designer. My foundry ‘Brush Art Design Office’ is situated at the foot of an active volcano ‘ Mt. Aso ’ in the Kumamoto Prefecture, the southern part of Japan. I design the letters of the alphabet with a Japanese brush. I have created the brush font named ‘ Lethal Fake ’ in my unique brush style. At the beginning of making the font I was going to name it ‘BrushType Lethal’ and tell you, “ Be careful using it. That’s because it ’s Lethal ”. But actually I was very disappointed when it was finished. I tried to make it lethal, but it was not. So I changed the font name into ‘ Lethal Fake ’. This time I have to say to you, “ Be careful using it. That’s because it’s not Lethal ”. Thank you.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980's. Many of these sleek logotypes are lacking an expansive family to enhance and express their brand in a richer sense, becoming true brand workhorses. The Aspire SmallCaps family finds its origin of inspiration in the ACURA automotive company logo, and from there expands to an 6 font family of weights & oblique styles, striving to become a workhorse. Aspire SmallCaps is perhaps the most true to form tribute to the original all capitals inspiration logotype. It maintains all capital forms (whether standard or smallcaps) and yet is still strikingly powerful in its presence and readability including numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Aspire SmallCaps Family bundle: - 438 glyphs per style - including Capitals, Small Caps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) - Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. - 3 weights in the family: Light, Regular, & Black. - 3 obliques in the family, one for each weight: Light, Regular, & Black. - Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Aspire SmallCaps Family is for you: - You're in need of automotive sans font family with a range of weights and obliques - You're love that ACURA letter styling, and want to design anything within that genre - You're looking for an alternative to Eurostile with more stylized letterforms. - You're looking for a battle-tech typeface for your futuristic war chest labelling. - You just like to collect quality fonts to add to your design arsenal

FA Berlewi is inspired by stencil lettering of a vanguard creator, Henryk Berlewi, who was a precursor of contemporary typography, a painter and a creator of the mechano-facture (Mechano-Faktura) theory. In 1924 he designed a poster for his mechano-facture one-man show in Warsaw Austro-Daimler car salon. An attention-grabbing composition with stencil lettering was doubtless a real innovation and according to Berlewi - the first typographic poster to be made in Poland.

The roly-poly serifs, inspired by West Banjo, designed by Dave West, add such irrepressible charm to this typeface that you just want to pinch its little cheeks, if you are so inclined. Equally at home in the 1960s, when it was originally released, as the 1860s, from which it drew its inspiration. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Talbot Type Keymer is inspired by Margaret Calvert's Transport typeface, designed for the British road sign system in the early 1960s. Keymer mixes geometric and humanist traits to achieve a modern, clean, elegant appearance. It is a legible and versatile text and display face available in seven weights. Keymer features an extended character set to include old style numerals, accented characters for Central European languages and bespoke characters in the italic for a more flowing look.

Portsmouth is a strong, sturdy typeface with historical character. Its inspiration comes from the height and strength of the wooden tall ships that sailed into port in their day. With caps and small caps, this typeface is great for headlines or subheads for design projects that need a historical or retro feel, such as from the 1940s and earlier. Seven different styles that can be layered allow for different colored drop shadows, outlines and fill for even more customization.

A new series of eclectic decorative initials, Capital Ideas 1 NF features numbers and uppercase letters rendered in nixietube displays, along with a whimsical walk through the alphabet patterned after Milton Glaser's Hologram. Capital Ideas 2 NF features K. H. Schaefer's eponynmous Versalien for Schriftguss AG in 1927, and Walter Haettenschweiler's Breitfette Unziale from 1958, along with a fancy nine-element box border. Dressing up your next projects with these snappy caps is, indeed, a capital idea.

XLeafMeAlone is a collection of leaf silhouettes from common Indiana trees based on actual leaves. Various leaves, selected for their good looks not their intelligence, were scanned and hand-traced. Some species, such as some oaks, are over-represented because they are more picturesque than others, such as apple or peach. LeafMeAlone was featured in the “Type Drawer” column of Personal Publishing (later renamed Business Publishing--I do not know if it still exists) in November of 1990.

Steve Jackaman has refined and optimized Jolly Roger for digital release. The original design was created in 1970 by the legendary American type designer Phil Martin, founder and creator of the Alphabet Innovations and TypeSpectra type collections. Although quirky, playful and highly unusual, Phil describes Jolly Roger as his personal favorite out of his entire library of over 400 typefaces. We are proud and humbled to reintroduce the design in honor of our good friend and colleague.

Louis is a faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927. Redrawn digitally by Rod MacDonald, and engineered in-house by Canada Type, Louis includes the many alternates that came with the original design, and then some. It was also expanded into three variations, including a soft-cornered style, and a rough woodcut one. And of course, the codepage support covers the majority of Latin-based languages.

The hand composition typeface was created at Polygraphmash type design bureau in 1959 by a well-known Soviet book and type designer Pavel Kuzanyan (1901-1992). It was reproduced in the 1960s for slugcasting and machine display composition. Sharp contrast, strong weight, slightly condensed Modern Serif with calligraphic elements. The typeface is useful in text and display composition, in scientific, fiction and art books. The revised and completed digital version was designed at ParaType in 2002 by Lyubov Kuznetsova.

Agent was inspired by the classic fun lettering of 1930s Dutch alphabetician Martin Meijer. Casual and playful, Agent is a carefully considered amalgam of the art brush's organic forms and the easily read, ironic forms of the comic book. Ideal for signs as well as packaging of products aiming to be memorable and fun. Agent ships in all common formats, and contains plenty of alternates, as we all as support for a wide range of Latin-based languages.

The object of Grover was to join two distinctive typeface designs: the basic European gothic of the late nineteenth century and the ‘rounded’ style found in 1960s America. The result is a clear, friendly face with subtle yet unforgettable features. Named after Grover Washington, Jr., the jazz saxophone player, Grover is geometrically constructed and yet very human in appearance. Sans and slab serif variations, true italic weights, as well as small caps afford Grover versatility and unique display characteristics.

Neva Regular with Italic was created by Moscow book and type designer Pavel Kuzanyan (1901-1992) at Polygrafmash in 1970 for slugcasting and display composition. Based on simple strict letterforms of Russian classical typefaces. Neva typeface was rewarded on the Gutenberg international type design contest in 1971 (Leipzig). The typeface is useful in text and display composition, in fiction and art books. The digital version and bold styles were designed for ParaType in 2002 by Lyubov Kuznetsova.

On April 20, 1950, film comedian Jerry Lewis indulged his love of cameras by opening up Jerry Lewis’ Camera Exchange on Vine Street in Hollywood. It closed in 1951. Thanks to an image preserved within newsreel footage of the shop’s grand opening night, a glimpse of the post-Art Deco signage with its unusual, block style lettering inspired a digital version. Highly unusual and best for novelty projects, Shutterbug JNL is available in both regular and oblique versions.

Secombe is a lively fun family of typefaces in the spirit of the turn of the last century. It's a boisterous fun design, named in honor of the late Harry Secombe (or if you prefer, Neddy Seagoon). Secome is a family of two 'small capitals' display faces, offered in a regular solid form and the 'Grande' form, engraved and shadowed. Ideal for posters, book covers and any other design work where a feel of the 1900s is needed.

Presenting… a Western style alphabet from the 1960 edition of Samuel Welo’s “Studio Handbook for Artists and Advertisers”… Extra bold, featuring slab serifs and concave corners, this type style could easily have been found on building signage in the Old West… but in redrawing it digitally, it’s been named Modern West JNL because at one time, this would have been considered a modern style of lettering. Modern West JNL is available in both regular and oblique versions.

Up until the advent of vinyl plotters, computers and a myriad of other typesetting and printing changes the world has experienced over the past few decades, the art of hand lettering flourished. An early 1900s book on show card writing displayed a nice example of a Grotesk typeface (a popular style of sans serif of the time). This has been redrawn digitally as Simply Grotesk JNL and is available in four varieties - regular, oblique, condensed and condensed oblique.

Sunfleur is a high dose of peace and love. With flared edges and rounded terminals, its playful forms were inspired by the flower child style of the 1960s. The waxing and waning curves of the letters complement each other for optimal readability and flow. Sunfleur also features a series of happy flower icons. Bring positive energy to logos, headlines, packaging, editorial, and posters. Includes all uppercase characters with punctuation, glyphs, diacritics, numerals, icons, and multilingual support.

Early 1900s songwriters had a penchant for devising lengthy titles for their compositions. A perfect example from 1909, "It Is Hard to Kiss Your Sweetheart When the Last Kiss Means 'Good Bye'" is a whopping fourteen words long. The sheet music for this piece has a hand lettered, Art Nouveau sans serif design which became the working model for La Vie Nouveau JNL [which translates to "the new life"], and is available in both regular and oblique versions.

The object of Grover was to join two distinctive typeface designs: the basic European gothic of the late nineteenth century and the ‘rounded’ style found in 1960s America. The result is a clear, friendly face with subtle yet unforgettable features. Named after Grover Washington, Jr., the jazz saxophone player, Grover is geometrically constructed and yet very human in appearance. Sans and slab serif variations, true italic weights, as well as small caps afford Grover versatility and unique display characteristics.

Rusticana is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. Rusticana was designed by Adrian Frutiger and appeared with Linotype in 1993. Its historical roots go back to the Roman Capitalis, the all caps engraved writing of ancient Rome which reached its peak in the first century. From this style evolved other Roman forms, and one, Rustica, proved particularly good for text on bronze, as opposed to in stone. The Rusticana of Frutiger has open, seemingly irregular forms which lend a distinctive rhythm to text.

The techno sound of the 1990s, a personal computer, font creation software, and some inspiration all came together to inspire the F2F (Face2Face) font series. Alessio Leonardi and his friends had the demand to create new unusual typefaces, which would be used in the leading German techno magazine of the day, Frontpage. Even typeset as small as 6-points, in nearly undecipherable layouts, it was a pleasure for the kids to read and try to decrypt the messages. Hearts, candles, bombs, and peace signs are just some of the great elements you'll find in F2F Simbolico. This collection of ruggedly drawn symbols is meant to bring a smile to the reader's face.

There are thousands of pieces of vintage sheet music available for collectors and curiosity seekers. Prior to the 1930s, a large percentage of them had wonderfully hand-lettered titles on the covers, but gradually there was a shift by music publishers to utilizing metal type for the bulk of their output. Normally set in an all-caps format, certain type faces reappeared in growing frequency and familiarity. Composer JNL is one such example of a “workhorse” font, and has been re-drawn and reinterpreted by Jeff Levine Fonts in both regular and oblique versions. It is based on the design "Glamour", released by Lanston Monotype in 1948; which in turn was based on "Corvinus", designed by Imre Reiner.

Inspired by the large American wood type of the Wild West, Richard Yeend created Italienne Std in 2002. Italienne Std is both very condensed and very decorative. It sports heavy, band like serifs, reminiscent of other italienne-style fonts, like Westside. Italienne-style fonts rose in popularity during the early 19th Century, when designers were first beginning to experiment with extreme contrast within letterforms, and across lines of text. Interestingly enough, letterforms with similar designs were just as common during the 1970s as during the 1870s, so you may use Italienne Std for applications ranging from country music concerts to disco parties. Italienne Std is part of the Take Type 5 collection from Liinotype GmbH."

Italian Old Style™ was designed by Frederic W. Goudy for the Lanston Monotype Company in the USA. Goudy was asked by Monotype to copy Cloister Oldstyle, a successful font that belonged to a competing foundry (it was designed by Morris Fuller Benton, see Cloister Open Face). Goudy refused on grounds of ethics, and instead talked Monotype into producing a new face. This he based freely on fifteenth century Venetian types, which were the same historical models used by Benton for Cloister and later by Bruce Rogers for Centaur. Goudy's result was Italian Old Style, released by Monotype in 1924, and considered by many to be one of Goudy's best fonts for book typography."

P22 CoDependent is a revival of the Independant typeface from 1930 created by Dutch designer Johannes Nicolaas Coenraad Collette along with Jos Dufour from Belgium. Independant was released in metal by the Belgian division of the Amsterdam Type Foundry in commemoration of the 100th anniversary of the independence of Belgium from the Netherlands. Despite the name, the two fonts contained in the set, Regular and Shadow, are not codependent upon each other. They can be used alone, but together they can create a dynamic two-color option. There have been other fonts inspired by and revived directly from Independant, but this version adheres the original design with the added consideration of how the shadow version will overlap.

Josephine, named for Josephine Baker, the legendary dancer of the 1930s, is a twenty first century sans serif typeface that harks back to the earlier part of last century. Although very modern, it has been greatly influenced by the many art deco fonts produced during the twenties and thirties of the twentieth century.In it I have tried to capture the art deco spirit in a modern humanist font. Josephine is exceptionally readable and yet completely characteristic of the Art Deco period. It can be used for text passages as well as display in posters, advertising, labels and packaging. It is professionally finished and contains all upper and lower case characters as well as all special characters, punctuation and symbols.

Potent, clean and classy. Meguro serif has a modern-styled boxy shape with small glyphic serifs emphasizing the edge of its vertical and horizontal strokes. Inspired by iconic fonts of the 1900s, Meguro serif incorporates the sophistication of the digital age to strike its own unique character. Its mono-line oriented, pointy serifs and very high X-height ensure that it is extremely legible and creates a strong impression. The Meguro serif font family is comprised of 10 styles with 5 different weights from light to black, along with matching italics offering possibilities for use in web, print, package and sign design, all with the goal of building an established look for brands in wide range of industries.

Gazi is the honorary title given by the state to the commanders who defeated the enemy by showing extraordinary benefits. This title was first given to Mustafa Kemal Atatürk by the Turkish Grand National Assembly on September 19, 1921. Gazi font was designed for Mustafa Kemal Atatürk, who founded the Turkish Republic. This type face consists of two families:: ▪ Gazi: Font family with Latin alphabets ▪ Gazi Pro: Font family including Latin and Arabic alphabets The Gazi font family is ideal for those looking for a new and aesthetic serif font. This font with modern lines can be used in all broadcast and printing areas. Gazi font will meet your needs and expectations in terms of the number of glyphs and the languages it supports. The font family includes many open type features, as well as some ligatures, and many currency symbols.