The typeface DIY Fantasy Stamp is designed in 2020 for the font foundry Typo Graphic Design by Manuel Viergutz. The display typeface is inspired by the crafts of 20s and 40s. The basis for this authentic stamp font was a letter case with a rubber stamp from Simplex. This analog character set of 85 stamps, was digitally extended to 500+ glyphs. 5 font-styles (Sharp, Dirty, Rough, Invert, Heavy) with 546 glyphs (Adobe Latin 3) incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (4 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: DIY Fantasy Stamp ■ Font Weights: Sharp, Dirty, Rough, Invert, Heavy + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 546 glyphs (Adobe Latin 3) ■ Spe­cials: Decorative extras like arrows, emojis, ornaments, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as Open­Type Fea­ture. dlig) and stylistic alternates (4 stylistic sets) ■ Design Date: 2020 ■ Type Desi­gner: Manuel Viergutz

Daiquiri is a revival of a handlettered font in two weights, from an ad for Puerto Rico Rum dating back to the forties or fifties. I found the ad on a French antique market on my last visit for Mardi Gras in Nice. The ad read "Breeze through the heat, be a Daiquiri fan". That's why they had this "fan" in the illustration! Did they want you to rotate like a fan when you had enough Daiquiris? Or did they just do it for that little "Jeu des mots"? Anyway I found the handlettering very pretty, so I took those few letters and made a whole font out of them. I think Daiquiri has that touch that brings those happy and uncomplicated times back when advertising was still fun. I started something like 20 years later in advertising and things had gotten more stringent. We already had to satisfy those marketing guys with their scholarly attitude. They have taken all the fun out of the job, for the creators as well as for the consumers. I would like to see more uncomplicated ads like this again, yours Gert Wiescher

The second in our Cool Japan series, Odaiba Soul echoes back to some of the futuristic amusement centers and entertainments found on Odaiba Island in Tokyo Bay. Tailored for sci-fi lettering, anime awesomeness or even just making flyers for a day trip across the Rainbow Bridge, this is one to keep in mind!

This font family is the first collection of almost all pictograms, signs and letters that refers to the topic of White Magic, witches and witch hunt. There are plenty of witch symbols, astrology signs, woodcuts and witch letters. The cryptic symbols are explained in an extra style. In addition to the symbols the scripts contain both: a digitized original manuscript from the ending 18th century and a modified newer script version. Bringing the light of the Enlightenment to the dark ages of suspicion, chasing and unjustness!

Winchell is the only identified typeface designed in Buffalo, NY prior to the formation of P22 type foundry. It was created by Edward Winchell of the Matthews-Northrup Printing Works and released by the Inland Type Foundry in 1903. The Winchell typeface was also made in Wood by the Hamilton Manufacturing company in the mid 20th Century. The Winchell typeface is a Clarendon styled slab serif that clearly has the look of a pre-modernist design. E.E. Winchell’s Arts & Crafts tendencies show through in this design

Margaux is an elegant, smooth, disciplined italic font, based on French fonts of the early 20th century. It evokes Paris in her heyday - culture, romance, and sophistication. Margaux is beautifully crafted, with simple, neat lower case characters, and upper case characters that are elegant but decoratively curled. This font lends itself to the creation of romantic adverts, wedding stationery, greeting cards, theatre posters, romantic book covers, certificates. Margaux has all the features usually included in a fully professional font. Language support includes all European character sets.

Broken is a grunge font with two interchangeable sets of uppercase. Its forms are in the Egyptian style of the early- to mid-nineteenth century, and the totality of its setting gives off the impression of a most unfortunate letterpress situation, with badly cut punches, uncontrolled ink spread, and metal shards and slivers strewn all about. Available in all mainstream font formats, Broken works very well and has a very unique appearance in design concepts where the overall visual can benefit from harshness, erosion, destruction or weathering.

Douglass Pen was inspired by the handwriting of Frederick Douglass, who was born an American slave but died a distinguished 19th century statesman, orator, and abolitionist leader. He also had fine penmanship. Douglass Pen is modeled chiefly after Douglass's handwritten account of John Brown's famous 1859 raid on Harpers Ferry, Virginia. It simulates his somewhat condensed cursive, dashed off in a swift, bold style. The OpenType release has more than 800 glyphs, including scores of ligatures, alternative upper cases, inkblots, crossouts, and Eastern European characters.

Both fonts of the Remus family are complete redesigns of turn-of-the-century fonts. The regular style is based upon an inhouse design of Schelter & Giesecke in 1889, called Romanisch. This font was adopted by other German foundries and slightly modified and a bold version was added. Due to their proportions, these fonts fit perfectly into narrow columns, and still they are very legible. In January 2023, an Italic style was added. Here too it is recommended to use both ligature features Standard and Discretionary.

I drew this font staying true to the original design. The letter table in the relevant book was taken as reference. Enochian (/ɪˈnoʊkiən/ ə-NOH-kee-ən) is an occult constructed language[3] — said by its originators to have been received from angels — recorded in the private journals of John Dee and his colleague Edward Kelley in late 16th-century England.[4] Kelley was a scryer who worked with Dee in his magical investigations. The language is integral to the practice of Enochian magic.

Abakadabra is a headline typeface inspired by sans-serifs of the first half of the twentieth century, as well as by the tricks of fakirs, illusionists and charmers. The gently playful manner of the font can be exaggerated to a more pretentious and grimacing one, or can alternatively be calmed to a neutral appearance. Abrakadabra supports most European languages and has thematic emoji symbols. The text can be customized by using stylistic sets or the Swashes and the Stylistic Alternates buttons in the OpenType panel.

Franko Luin, Carniola's designer, on this typeface: Carniola is a pastiche of different type designs from the beginning of the 20th century, mostly American. I am not very fond of it, but was convinced to release it by someone who needed a typeface with a time typical feeling. On the other hand: why not use the original typefaces from that period? Carniola has its name from the Latin name of Kranjska/Krain, a principality in the former Habsburg monarchy (Austria-Hungary), now part of modern Slovenia.

Manolo was a Ludwig & Mayer in-house design from the beginning of the 20th century. Though more formal than many others, the design keeps its Art Nouveau air. This beautiful font was completely redrawn and redesigned with giving the numerals more style. Two stippled border elements were added which you can reach by typing [alt] + P and [alt] + p. Like most fonts of this era, RMU Manolo comes with a long s too. RMU Manolo encompasses most European languages, Central and West, plus Turkish.

agasthiya rococo is a script type font with 552 glyphs, supports western & eastern europe, turkish, cyrillic languages. equipped with alternates lowercase, ligatures, and swash. inspired by the art of rococo architecture, which is an ornamental architectural style that emerged in the 18th with its characteristic intricate and layered details. The rococo style is a further development of Baroque, where the forms used have not changed. The Rococo style first appeared in the 18th century in Paris. makes this font has a distinctive character style similar to victorian

Around the turn of the 20th Century, the Inland Type Foundry produced a display face named Studley. It was a variation on a design by another foundry called Florentine. A condensed face with a bold, clean look, the design resembled the warmth and feel of a classic wood type. Best applied to headlines and titles, the font reads amazingly well at even 18 point renderings. Jeff Levine had added his own personal touch to his digital version of this old favorite and renamed it Bayview JNL.

This decorative font is based on Cyrillic Vyaz of XV-XVI centuries. This type of letters were used as display faces in sacred texts. In Vyaz, the letters are characteristically fitted to each other so the letter sequences look as one solid ornamental frieze. The font is rich in discretionary ligatures which help to accentuate the style of Vyaz. In addition to letters and standard characters there is a number of monograms and Christian symbols. These and other features are available in OTF format.

Drone is a deliberately misproportioned typeface, inspired by hand-drawn lettering found in Spanish/Hispanic Catholic churches in the Philippines and Los Angeles. These naive letterforms appeared to be ‘copies of copies’ – and in aiming to recreate the beauty of the Vatican and the Sistine Chapel they instead created something unique with its own charm and beauty. As a curious aside, the forms are reminiscent of those found in 16th century English calligraphy too. Drone is available in two styles: No.666 and No.90210.

P22 Tuscan Expanded is a digitization of the mid-19th Century Woodtype font "Antique Tuscan Expanded - Wells & Webb 1854". Specimens of this font are rarely, if ever, seen with a lower case. It is noted in the book American Wood Type 1828-1900 by Rob Roy Kelly that the lower case is "missing". This version was digitized from a recently discovered full set including all lower case plus ff ligatures. One unique feature of this design is the heart shape formed in the V, X & Y.

Moscow-based designer Julia Borisovna Balasheva created her Lubok face as a pictogram-based font. The term "lubok" refers to a popular style of Russian folk art printing, which dates back to the 18th Century. In Lubok, Bakasheva has digitised several whimsical characters and animals, which were common in these prints. She suggests that you use Lubok's symbols to illustrate fairy tales; we suggest that you use Lubok to decorate everything: from your next office party invitation to comic books of your own design!

Mentone is a new general purpose typeface, an attempt at extending the line of the great sans-serifs of the previous century, Frutiger - Stone Sans - Myriad. The font has round corners and subtle chamfers, which are all but invisible at text sizes, but add an upbeat, irreverent expression at display sizes. The typeface is named after the beautiful bayside suburb of Melbourne, Australia, where the designer lives. This new version (2.01) was spaced and kerned by Igino Marini of iKern. The semibold cuts are now free!

Cowhand is a display typeface designed by Toshi Omagari to keep words at one specific width. Words of one letter will have one very wide character, words of two letters will have characters of half that width and so forth. At the maximum of 20-letter words, characters become very tightly compressed. The design of the Cowhand typeface is inspired by western style block printing with reverse stress that is characterised by chunky slab serifs. This Lite version of the typeface was designed as part of a font marathon over the course of 3.5 days in Monotype’s NY office. Please Note: these "Lite" fonts are offered with a limited character set. Monotype is proud to support Room to Read’s work in literacy and girls’ education through our font marathon initiative.

BB Noname™ (Pro) is intended to imply the appearance of a conventional typeface in a contemporary context. Due to the frequent use in the public service (among other things), the style associates a supposedly objective face. The style is characterized by the proportions, the contradiction of the apparently perfect reduction and the retention of chirographic elements. In addition, the rapid further development of the input devices has meant that existing character sets have been added again and again, regardless of style and technical requirements. With this work, the properties were analyzed, the characteristic features highlighted and summarized in a complete typesetting: Anonymity (procedure), bureaucracy (style by category), convention (shape) and formality (optical corrections). ● 3 Variants: Human, Computer, Interaction ● 20 Stylistic-Sets ● 34 Styles ● 39 OpenType features ● 93 Languages Support ● 35,598 (1,047/Style)

Font family Titla Brus was developed as an extension of Titla, released earlier in 2009. New slab serif family consists of 20 members the normal and condensed proportions that present 6 weights from Light to Ultra. The fonts can be used in combination with Titla or by itself in different display matters. Typefaces demonstrate original and catchy way of using serifs -- in some places there are traditional slab serifs, in other places -- one-sided and often there are no serifs in the places where they normally should be. This approach brings to the letter shapes an unusual appearance and peculiarity. Design was developed by Oleg Karpinsky. Released by ParaType in 2011--2013 at first as a set of ten condensed styles and later in extended version enhanced by ten normal styles.

@andinistas presents Bleak , an experimental font designed by #carlosfabiancg. Bleak is based on the imaginative use of contrast applied in the empty space and on the dramatic distributions of the wide and compressed horizontal of more than 400 textured symmetric capitals inspired by compositions of the Lissitzky, Theo van Doesburg, among others. In the Europe of the 20s, scarce resources prevailed, which gave these great artists the firm determination and dedication to create a visual vocabulary, characteristic of the composition with movable types of wood and metal. As they did not readily dispose of the forms of the letters they required, they did not hesitate to construct them with metal rulers, ornaments and other improvised pieces and remains and obtained in the forgotten corners of the typographic composition workshop.

Welcome aboard the Hyperspace Race Capsule! Let the weight of gravity slip away as our interplanetary transport system takes you around the solar system in unparallelled style and comfort. Our reclaimed UFO has been remodeled with soft, luxurious curves on the interior and the latest cutting edge flight technology under the hood, to meet all your typographic travel desires. Each weight and package includes these luxurious five-star amenities: Kick your Capsule into TURBO mode to access eleven sleek, fast-moving alternate letter shapes. Hit WARP SPEED to cross time and space with hundreds of auto-connecting letter pairs. Chat with passengers from all over Earth, as Hyperspace Race Capsule effortlessly presents speech in 224 languages. Use the versatile Variable font to access 20 preset weights plus over 100,000 options between. Hyperspace Race Capsule is a versatile, full-featured font that's perfect for galaxy-wide branding projects, now and into the future.

Frigga is a typeface that settles its roots in the Baroque Dutch tradition of text typefaces and northern european type forms. Carefully crafted for an optimum balance between its solid historic structure and a refreshing repertoire of organic forms, where blossoms its contemporary spirit and natural beauty. In the page, spread on long text settings a feeling of comfort and closeness, while in headlines and display use, it reveals itself more exuberant and plentiful of details. Is beautiful, timeless, lush, elegant and smooth like nordic mead. Fully equipped to realize your wildest editorial dreams, Frigga came in 20 styles, with more than a 1000 glyphs per style, alternates, ornaments and borders, old style and tabular figures, small caps and plenty of OpenType features to fulfill any type of editorial need. Named after the nordic goddess Frigga (also called Frejya), taking as a reference the romantic mythos of its cultural representation, the solemn presence and her warm, gentle embrace.

Introducing Flatline, an elegant, modern sans serif font family. Meticulously drawn with high contrast between thick and thin strokes with the goal of making even the simplest sans serif letters look sensual, elegant, and warm. It’s perfect for headlines, editorial uses, and advertising projects. Makes beautiful luxe logos and wedding invitations, too. Flatline includes six styles (three weights each in both roman and italic), each of which includes nearly 500 glyphs. OpenType features include 20 standard and discretionary ligatures, a small number of character variants, three figure sets, four ampersand styles, and multilingual support (including multiple currency symbols). The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (You can also access most of these features in Microsoft Word and other similar programs, but you'll need to get comfortable with the advanced tab of Word's font menu.) Find inspiration (and sneak peeks at my next font-in-progress) on: Instagram: http://instagram.com/julieatupupcreative My website: http://upupcreative.com

Ganges is a condensed sans serif typeface inspired by Central European advertising typography from late XIX century. The font has condensed proportions and original letter shapes. Ganges is designed mainly for editorial design, especially for display use, as well as short paragraphs of text. Its narrow proportion makes it very practical to use for posters and magazine covers. Characteristic letter forms fit great for branding, logo and packaging design. It is also a very interesting choice for websites and e-book headlines. Ganges family consist of 27 fonts - 9 weights, 9 italics and 9 obliques. It supports extended set of latin languages, as well as broad number of OpenType features, such as case sensitive forms, standard and dicretionary ligatures, stylistic alternates, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Bourgeois Slab is built upon the framework of Bourgeois, our popular geometric type family. As with the sans-serif Bourgeois, Slab’s letter forms are thoroughly contemporary in look and feel. Echoing mid-century modernism in style, Slab’s overall look is friendly and businesslike, more expansive and expressive than Bourgeois’s pared-down asceticism. The slab-serif’s development and vigorous uptake during the early-Victorian-era Industrial Revolution, means that we endow slab-serif faces with characteristics of sturdiness, durability and trustworthiness. At the same time, we appreciate the slab-serif’s raison d’etre: They’re made to grab your attention. Bourgeois Slab and Slab Condensed when combined, offer 24 styles suited for text of all kinds and sizes. Both are particularly good for for text-heavy projects and for designers seeking a robust, authoritative-but-genial voice for branding and logo work.

Sheepman inspired by and based on retro William Page’s No.506 typeface which is popular wooden type fonts of the 19th century. To make soft and natural impressions, the original polygonal design was changed to rounded design. All glyphs had been designed carefully to be retro-looking of the old time and to fill all with nostalgia. This modern wood type includes 3 weights and their matching slanted style and all style have sprayed ends(beginning) alternates for F, H, L, M, N, P, U, f, h, j, m, n, p, q, and u which can be accessed by using OpenType Stylistic alternates or swash alts. Sheepman will be the best solution for posters, titles and anywhere you need vintage lettering.

Circus Didot typeface presents a rework of a typical neoclassical serif type in a constructivist style. Analyzing the shapes of characters author placed basic geometric figures — triangles, rectangles, circles… above the contours of letters. Resulting constructions staying recognizable letters at the same time bore a resemblance to pictures of Russian avant-garde artists from 20th century. This discovery has brought an idea to design a typeface where the tendency of a modern serif type to rationalism and geometry is realized in maximum possible extent. The prototypes for the project were taken from the works of Didot, lettering experiments of Russian constructivists and art deco artworks. The technique of juggling with shapes and overall grotesque approach to the design explains the selection of the name for the font.

A 1929 German travel poster espoused the benefits of using a sleeping car with the caption “Wer Schlafwagen reist spart Zeit und Geld” (which translates to “Whoever travels in a sleeping car saves time and money”). Pictured on the poster is a passing train with the name "Mitropa" lettered on the side of a railway car in a bold, stylized font with thin slab serifs. "Mitropa" was an acronym of “Mitteleuropa” (German for Central Europe), and was used by a catering company than ran the sleeping and dining cars of numerous German railways for a good portion of the 20th Century. The lettering was modified and redrawn as Dining Car JNL, which is available in both regular and oblique versions.

The Alterhard typeface combines the inimitable craftsmanship of the great condensed styles of the early twentieth century and at the same time looks organic and even unusual among modern ones. A distinctive feature of the Alterhard typeface is the smooth transition from the geometrically strict extremely compressed shapes of the bold typefaces to the classic sparse shape of the compressed typeface in light weights. Also unusual for vertical fonts are oblique elements in lowercase letters, which give uniqueness, liveliness and originality to the classic type of font. This allows the Alterhard typeface to be used in any design field such as corporate identity, typography, posters, web design, and other design areas. The set comes in 9 font sizes for rich typography.

Praktika Modern grotesk super family Praktika is a multifunctional super family of 40 fonts. It consists of three distinct widths and weights from extra light to extra bold. Conceptually, it is a rendition of the familiar early 20th century European grotesque styles, used in road signage – reimagined to meet the needs of contemporary world. Its design language, however, has been kept decidedly rough and bulky, to achieve a unique-yet-familiar look and feel. Praktika comes with more than a few features, accessible in any open type savvy program. • Built-in small capitals • Both lining and old style numerals, in tabular or proportional form • Superscript and subscript numerals • Many alternate characters For the best experience, purchase the whole family which is available for a good bargain price.

One look at the font Wanted brings to mind swinging saloon doors, double shots of whiskey and sheriff's badges. It belongs to the so-called Italienne typefaces which began to appear at the beginning of the 19th century. The distinguishing characteristic of such typefaces is the robustness of its serifs, which exceeds that of the base strokes. Wanted looks almost as though it were stamped on paper. Small white flecks appear in some of the strongest black strokes just as they would in a stamp which did not get quite enough ink...or are they perhaps the work of a sharp shooter? Wanted is best for short headlines and perfect for anything which should have the look and feel of the Wild West.

Nobella is a flowing, mid-century script typeface, perfect for logos and sport-style graphics. With its curly style and decorative swashes, this font could be considered a baseball classic and is guaranteed to give any logotype a creative, vivid appearance. Its thin parts and its large capital letters makes for a typeface that combines lightness with expressiveness. Use underscore _ to make a swash. Example: Yankees_ Use multiple underscores to make swashes of different lengths. Example: New York________ (Download required.) The font contains all characters you'll ever need, including all punctuation and numbers. It contains contextual and stylistic alternates and many other OpenType features. It supports all Latin based languages: North, East, West and Central European; North and South American; Southeast, North, Central Asian.

In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe. Upscale and stylish, Didot Headline is an essential tool for any designer involved in magazines, books, tasteful music, or overall luxury packaging that requires clean and large classic typography with an unmistakable modern spin. We recommend the use of Didot Headline between 12 and 48 points. For larger display use, check out its sister family, Didot Display.

The story of Humana begins with an exclusive volume about some manuscripts in Biblioteca Palatina in Parma, Italy. The title page uses the characters upon which I designed Humana. I suppose they were drawn for that volume. Examining the reproductions in the book I found that the characters on the title page immitate the lettering in a manuscript from the 15th century with Petrarca's Rime volgari". Not bad as origin! But I cannot free myself from the thought that there may be a typeface with that looks, not just a few characters drawn for that volume. My reference books could not give me any answer about that. The name Humana refers to the humanistic era from which the characters originate. Humana was released in 1994.

Lotus is a traditional-style Arabic text face derived from foundry types cut earlier in the 20th Century, based on the calligraphic models in the Ottoman Naskh style (the traditional style of Arabic script for use in printing). Its graceful finials and elegant logotypes contribute to the classic look of the face making it particularly suitable for serious book and journal work. The conversion of the PostScript versions of these fonts to OpenType format has taken full advantage of the latest digital technology, allowing accurate positioning of diacriticals and kerning refinements. The Lotus typeface is available in two weights: Lotus Light and Lotus Bold. These two fonts incorporate the Arabic codepage (CP 1256), and support Arabic and Persian. They also include both tabular Arabic and Persian numerals.