Mercurius Script font was designed by the Hungarian wood engraver and type designer Imre Reiner in 1957 for the Monotype Corporation. The expressiveness of this bold script typeface is the result of Reiner's use of a bamboo pen for Mercurius Script's elemental shapes. Used sparingly, Mercurius Script font gives even the dullest headlines genuine spirit and excitement.

Urban Hive : reinterpreting three-dimension to the typeface A blueprint consists of two-dimensional elements changes into a three-dimensional structure. What works would be created by reversing the process? The building components were divided into three parts : Facade, Inside space and Construction materials to apply all the features to the typeface. This is Facade version.

This typeface was developed for the Different Ground exhibition identity (and that explains the name of the font). The aim was to make an absolutely geometric, constructed font. Sometimes even too geometric and too much into it's own rules. But at the same time to make it look very humane, sometimes imperfect and weird, but alive and not soulless.

In designing Minion font, Robert Slimbach was inspired by the timeless beauty of the fonts of the late Renaissance. Minion was created primarily as a traditional text font but adapts well to today's digital technology, presenting the richness of the late baroque forms within modern text formats. This clear, balanced font is suitable for almost any use.

Sandra Oh is a quirky modern take on the classic serif fonts of the 20th century, updated here with a wiggle in her walk and a giggle in her talk. A Chankstore classic from the earlier days of the internet, this font is now available in OpenType format for the first time. Perfect for indie films or youtube videos.

The original name for Ambigue was “Confidence”. This font family received the first prize at the German Kurt Christians-Foerderpreis in 1997/98. Its interpolated weights offer a subtle differentiation in the grey levels. A special “Small” weight is available that offers better readability in very small sizes. The work was supported by Professor Jovica Veljovic.

This typeface has been influenced by the ongoing traffic congestion in Melbourne, and its lack of functional and reliable public transport as a possible solution. The font shapes are square-edged constrained angles, reflecting the way the Melbourne population feels when using the public transport system or roads. Use as headings and body copy in any graphic situation.

Hand lettering of the song title on the 1914 sheet music for “Dear Old Girl” was the working model for Old Songs JNL. A condensed Roman typeface available in both regular and oblique versions, this titling font exhibits a casual, nonconformist design that isn’t quite traditional, nor is it part of the Art Nouveau movement popular at the time.

FansiPensle is a set of four decorative scripts. The capitals are fussy and ostentatious and a little weird with strange flourishes. The lower-case letters are neat and simple. Lower-case letters have the shapes of a cursive alphabet and they are connected in the cursive and cursive-bold styles but not in the plain and bold styles.

This late Victorian typeface flirts with Art Nouveau sensibilities, as evidenced by the graceful curves and the decorative crossmembers in several of the uppercase letters. The result is a font that combines simple, understated elegance with a no-nonsense, workmanlike stance. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Sail the seas with Nautical Doodles. This seaworthy font has 32 illustrations of water craft, anchors, star, compass, flags, whale, shark, birds, starfish, seahorse, rope etc. Even a mermaid... and the scripted word Ahoy! If you would like the character chart go to the Gallery Tab and print. (PDFs are no longer downloaded with the font.)

Willow font was designed by Tony Forster, a fanciful font in the Viennese Secessionist style. The work of Scottish architect Charles Rennie Mackintosh inspired this condensed sans serif typeface with its rough edges and selection of alternate and ligature characters. Willow font revives the look of the arts and crafts of the late 19th and early 20th centuries.

A sign at the 81st Street (Museum of Natural History) New York subway stop provided the pattern for this mosaic tile face. The font features a full-tile background at the bar position (shift-backslash) and left-and-right pointing fists at the brace positions as well as complete Latin 1252 and Central European 1250 character sets.

Mushin is a typeface, that comes with 14 fonts, roman and the matching italics, which draws inspiration from the grotesques of the beginning of the 20th century. However, its humanistic details and endings, remove the coldness so characteristic of this style, making Mushin a typeface of lively and dynamic curves, which can be used for various purposes.

This narrow neoclassical revival is based upon a font released by the Haenel Foundry, Berlin, in the 19th century. By typing [alt] + p respectively [alt] + b you have access to a framing element as it can be seen on the posters. By using the OT feature stylistic alternative you can change the normal numbersign into an oldstyle numero sign.

Tyrium is the font pack. The Normal font combines with the alternate character font to make each word unique. Then add the Splatters font as your tagline and — the ideal logo! What's included: - .TTF and .OTF files - Opentype features. - Splatters combines perfectly with Tyrium to create cool typography or logo design. - A range of multilingual support.

Masbrushy is a bold and Modern handwritten Lettering font. Clean and a little bit quirky, this font is the perfect fit for all of your logos, branding, social media, and crafty DIY projects. This font especially design for awesome logo project. You can use this font for Logomark Project. This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

This font was born out of love with nature, designed to preserve and instill an even greater appreciation for our world. WildForest is a modern typeface born from the wild. This font was born out of love with this nature, and its intention is to capture the spark of something beautiful, yet wild and full of life. This font was designed with a careful eye on the details and has accents that recall the spirit of nature, made in a style that will be loved by both professionals and amateurs. Made with care and precision, WildForest appeals to both professional designers and amateur designers alike. Worthy of any article or design, WildForest embodies a typeface that is truly unique.

Welcome Ramadhan is an Arabic-styled display typeface. This font features irresistible characters which make this font unique because it looks like the standard Arabian alphabet or is written in Arabic style. This Islamic Ramadhan Arabic font is perfect for any graphic design related to the Islamic style. Using this font, you will get an Arabic feel for every text you type. Made with serif characters so that it can be read internationally and does not have to be able to read by Arabic characters It is PUA encoded which means you can access all of the glyphs and swashes with ease! Add it confidently to your projects, and you will love the results.

This is a standard, plain face with no special distinguishing features. It was created over a period of four months for use in small text in a cartographer package. While the face was extremely suitable for the purpose it was designed for, the party who was to purchase the family outright decided upon another design, allowing me to offer it up for sale. The original design for this face is nothing new, and has been greatly influenced by many others already in existence. It was not intended to be flashy, nor eye-catching, and I believe I have managed to escape any individuality that could have affected the face. It displays well in the lower text sizes, and, in my own opinion, displays some characters more clearly than some other similar faces that are currently in use (not all, some). While individuality makes a typeface stand out from all the others, this style of design would have been compromised with it.

Now everyone can create simple pieces of graffiti in an easy way. With all our experiences in the real graffiti scene combined with our skill in creating fonts, we create these "Street Pieces." This is a simple version of a wildstyle graffiti piece; you can clearly read the font; unlike heavy wildstyle, which not everyone can read clearly, your message is still clear with this font. It's very easy to use, but for a better result, you should adjust the kerning and lead manually because the real graffiti is like that, and use your own graffiti style because there are no rules in graffiti. In this package, you’ll get two fonts. "Street Pieces Line" for the line, and "Street Pieces Fill" for the fill. Don’t forget to combine with "alternate" fonts; see the preview fonts for the sample; and also add a drop shadow or extrude effect to make it more realistic.

Neon Street is a captivating display font that takes inspiration from the dazzling glow of neon lights found on vibrant city streets. With its bold uppercase letterforms and neon-style inline elements, this typeface exudes energy and creates a visually stunning experience. Each letter is meticulously crafted with neon-inspired strokes that run through the center, adding a dynamic and luminous effect. This inline style brings a sense of urban excitement and nostalgia, evoking the vibrant atmosphere of neon-lit cityscapes. Inspired by the enchanting allure of neon signs, Neon Street infuses a sense of liveliness and modernity into each character. The font captures the captivating glow of neon lights, casting a radiant and vibrant hue that is both eye-catching and mesmerizing. This neon style adds a touch of urban energy, making the font truly stand out with its electrifying charm. The uppercase letter forms of Neon Street are bold and assertive, commanding attention with their distinctive design. Enjoy the various features available in this font. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Neon Street is perfect for headlines, signage, logos, and any design that aims to make a bold statement with a touch of neon-inspired flair. This font will also inject your project with a vibrant and captivating element, whether you're creating posters, branding materials, digital artwork, or anything in between. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Balboa Plus is a condensed sans serif display family. It was originally conceived as a simple black and white typeface. But it seemed unfinished, begging for something more. I decided to try adding a couple layers of fill and detail to try and make it interesting. The result is this four-layer chromatic font family. The Primary Font is the Main Font. The other fonts ( Fill, Inline, and Gradient) only exist to support the Primary Font. The Fill font should sit behind the Primary font (there is a little color trapping going on). The rest is even easier. There is a free downloadable PDF Balboa User Manual in the Gallery section for this family. It has samples and some backstory. Balboa™ is a trademark of Parkinson Type Design.

The most sensational design of the decade is now at large. These high-definition fonts can be used for titles, banners, tattooing, logotypes and many more places. Be it domestic or industrial, formal or informal, it can be used in every field imaginable. It has a sensational, funky style and remarks the current youth's style. Such a font style has never been seen by the world, until today. These designs are 100% original and handmade. I searched a million miles but found this as the most appropriate idea for the world of font types at this time. It's the coolest, funkiest and the best font ever made. It's the era of graffiti and 3D, and we've combined both to give you CRESCENT.. So, use it, love it, buy it!

Oboni, how are you. I am fine, thank you! This little song is what you will hear in Ghana and Togo. The white people are called Oboni and the black people are the Amebo. We'll bring both cultures together!

Amidst the pages of the 1946 foreign-printed "100 Alphabets Publicitaires" ("100 Advertising Alphabets") was an example of a beautiful vertical script type design with a somewhat calligraphic look. This became the work model for Script Spot Initials JNL.

Some pleasant Art Nouveau spurred serif hand lettering was found on the cover of a 1902 issue of “The Century Magazine”. This is now the digital typeface Nouveau Heading JNL, and is available in both regular and oblique versions.

While this bold, chamfered typeface may look like a sports font, it actually came from the opening credits for the 1955 Western film “The Man from Bitter Ridge”. Game Rules JNL is available in both regular and oblique versions.

Here's a hipster face that evokes the Beat era, taking its name from Louis Nye's catchphrase on "The Steve Allen Show." Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Dave West's eponymous Futura Casual, designed for Photo-Lettering, Inc. in the 1960s, inspired this loosy-goosy take on a classic face. Both versions of the font contain the complete Unicode Latin 1252 and Central European 1250 character sets.

Riana is handwritten, scanned and then carefully worked over to keep the rough touch and the typical "fountainpen" look. The result is a very lively, expressive font. To me it has an Existentialist touch, but don't ask me why.

Occidental Tourist JNL is based on a set of die-cut cardboard letters used by teachers. They were primarily found on classroom bulletin boards or felt boards. The font's name is a pun on the movie The Accidental Tourist.

Presswood JNL was modeled from the title font used on the cover of a specimen book issued by the Delittle Wood Type Company of York, England. This bold, friendly sans serif is available in both regular and oblique versions.

This cuddly face is based very loosely on Dave Farey's Beesknees. This version is a little more regimented but no less fun, and is notable for the addition of a lower case, not found in Farey's design. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Introducing a vintage font named Barely Legal. This font was inspired by bootleggers in the 1930s. All available characters you can see at the screenshots. This font has six styles: Regular, Shadow, Texture, Rough, Shadow FX and Texture FX. This font will look good on any retro and mafia styled designs like a poster, T-shirt, label, logo, etc.

In his book Victorian Display Alphabets, Dan X. Solo called this specimen "Marquette". This unicase version features a complete character set, and is named after a favorite watering hole in Texas on the Guadeloupe River. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

The coolest royal font is here. This font was designed with the goal of exotic and rich looking, every single letter and every single character itself is a logo in this typeface. You can use it for any purpose that you want and this font will make your design stand out. Certain characters are designed to look unique.

The basic forms stem from Erich Mollowitz' version which he cut for Trennert in 1936. These fonts were completely redrawn, extended with East European letterforms and some OpenType features. They are well suited for more formal invitations, headlines and subtitles, for diplomas and certificates.

Glotona's Black & White are four modernist typographies written by hand and combinable with each other by layers to create multi-colored typographic headlines. Glotona is my tribute to Bodoni fonts, revolutionary fonts when they appeared in the S XVIII and still in force today. The great contrast between antlers, give foot to the design maintaining the elegance of the modernist typefaces, the manual writing and the roundness of the serif and antlers bring freshness and empathy, the careful configuration of the kerning and the proportions give maximum readability to these fonts.