This typeface came out as a side idea while I was working on one logotype. Suddenly I came up with an idea of creating “tuned” version of the typeface, based on that logo. The “tuning” turned me in a completely different direction and in a few hours of haste I was looking at a completely different typeface. A few days later I made this font available for free, since it wasn't meant to be at all :-). A few months later, I saw my typeface used in the menu in one pizzeria. I was amazed and glad and happy and proud, all at the same time. Oh, by the way: the logo I was working on was of different style and even of another stem’s widths. So, this is truly a font of it’s own design. Naftalin has both Latin and Cyrillic sets, since it was used with both.

CA Saygon was originally conceived for a large corporate design project, but as this was never implemented, the way was free to make a public font. As a striking corporate typeface, it transports the fractions of a society after the post-modernist phase. After hundreds of sketches a bunch full of letters were selected, some of them quite twisted, others rather conventional. The combination of these letters reflects a rebellion of individuality but also leads to a coherent typeface. Additionally there are alternative letterforms in the Stylistic Sets or in the glyphs palette, which keeps the font always exciting to the designer. Thanks to the Cyrillic and Latin Extended character sets, a huge language area is covered that even extends to Vietnam! Numerous OpenType features make life easier for the professional typographer: There are fractions, superscript and subscript numbers, as well as proportional and tabular numbers.

Festina is our newest font, which is handwritten which is neat and clean and proportionate in usage. gives a friendly, relaxed, and cool impression when reading. Not limited to that, the bold calligraphy font is designed to keep paying attention to the beauty of each letter, there are alternate options for the letters which are certainly easy for you to access, so you can automatically customize the letters you want to enhance the visual appearance of your design project. This charming font also offers the beauty of abstract typography harmony for a wide variety of design projects, including digital natural handwriting for designs, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, a signature, and all designs require handwriting or whatever design you want. What’s Included : File font Web Fonts Standard glyphs Ligature Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; Afrikaans, Albanian, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish Thank you for your purchase! Hope you enjoy our font!

Auldroon was inspired by the pseudo-medieval fonts that were fairly popular in the late 19th century. Auldroon comes in two variants. Auldroon-Eld was designed first and is a bit more compact than the regular version. Both are decorative and distinctive and neither was created with a specific use in mind.

An edgy little number here; Herman was created using a chiselled marker pen and is handwritten as a slanted, bold font with a distinct marker contrast. Designed with two sets of all caps, and alternates that rotate the upper and lower case; Herman is a standout that’s charming and slightly retro, too.

Cutting Corners is all about letters made of squares that also suggest circles. That’s it. This is one of several fonts I’ve created based upon a strictly geometric form; in this case, a round-cornered square. The width is equal to height (except for i, I and most punctuation). Usage recommendations: logos, samplers.

Like its feline namesake from Kipling’s “Jungle Book”, Baghira has an elegant, smooth appearance and an impressive set of large, sharp teeth. With smoothly drawn curves, precisely placed corners, and rectangular dots, Baghira is a design rooted in the here and now. Its true italics gently allude to calligraphic roots, but overall, Baghira doesn’t follow any historical model. This cool cat sets his own standards. Designed by Christian Gruber & Moritz Kleinsorge, the Baghira font family consists of 8 fonts, with 4 weights ranging from Regular to Bold. Its character set contains 800 characters per style and is suited to quality typography in editorial design, corporate design and advertising.

Inspired by Rudolf Engelhardt's Journal-Kursiv, released by Ludwig Wagner, Leipzig, in 1913, Kursivfraktur was freshly drawn and redesigned, and comes as one of those rare beautiful italic blackletter fonts. This font contains the letter long s which can be reached in two ways. Either you use the OT feature historical forms, or you type the integral sign [ ∫ ] on your keyboard. There are two graphic elements implemented, a corner element and a straight element for framing. The corner element lies on the Product sign [ ∏ ], the straight element you will find on the pi-key [ π ]. Furthermore it is recommended to activate the discretionary ligatures OT feature.

P22 Victorian is a font set created in conjunction with the Albright-Knox Art Gallery's exhibition of Victorian-era French artist James Tissot. The fonts developed for the P22 Victorian set are based on historic typefaces dating from the late 19th century. Victorian Gothic was based on a type style called ‘Atlanta’, a simple, expanded width, quirky, yet elegant face similar to ‘Copperplate’. Victorian Swash was inspired by the willowy, delicate face ‘Columbian’, which has also been known in recent years as ‘Glorietta’. The P22 version includes ‘snap-on’ flourishes based on the original 'Columbian' ornamental embellishment designs. Victorian Ornaments features over 150 decorative embellishments.

Best selling baseball script, Distinctive brush stroke inspired by retro 20th century’s movie.

Created to show movement of an object. Looks best at a large size.

Dominatrix is a dirty little font who won't let up until you say the safe word. And I'm not telling you what the safe word is. This font comes with autoligatures so consecutive duplicate letters won't look identical. It also has more European characters than you can shake a leather whip at.

SansduskiMono is a sans-serif decorative/display family that is monospaced. Its very high x-height and tight spacing make it more suitable for use at large point sizes than small point sizes. (There are better options if one wants a readable text font.) The letter O is a rectangle with rounded corners and this shape motif is carried over to other characters that are usually rounded. The origin of this face is in a previous typeface, BigStripesMono. That family was designed to use the OpenType feature Contextual Alternatives (calt) to put stripes on letters. It had only upper-case letters in one weight. SansduskiMono adds lower-case letters and eight more weights plus italics and outline styles for the black weights. For a proportional rather than monospaced version of this design idea, see Sansduski. SansduskiMono is appropriate for titles, posters, advertising, and other uses that benefit from simple letter forms that are geometric and clean.

Johnny is the latest addition to the long line of popular psychedelic/hippy/funky art nouveau fonts representing the retro side of the Canada Type library. It is the digitization of a popular 1969 Phil Martin typeface that was known by two different names: Harem and Margit. The film type version had plenty of irregularities and quirks that made it seem like it was done in a hurry. In this digital version the errors have been corrected and the character set expanded to include international characters with built-in alternates, to be on par with what today's layout artists expect from a high quality font. This font saw a lot of use on record sleeves and music posters throughout the pre-disco part of the 1970s, which makes it a veteran of both the psychedelic and funk periods. This makes it the sharper, sturdier art nouveau contemporary personality of Canada Type's Tomato font. This font contains a very expanded character set that includes full support for Central, Eastern and Western European languages, as well as Baltic, Turkish, Esperanto, Greek, Cyrillic and Vietnamese.

A sexy font hand-penned by a real bombshell that will catch the eye of that special someone you love.

Rumba is ideal for any informal projects when youthful and free style are required.

Free interpretation of Great Primer Ornamented No. 30, from the Bruce's TypeFoundry 1869 catalog.

Glowy modern serif font is an exceptional font choice. This font effortlessly blends contemporary aesthetics with a touch of elegance, resulting in a visually captivating and professional typeface. Glowy Modern Serif font unique attribute lies in its luminous and bold quality. The letters seem to emit a soft glow, which sets it apart from traditional serif fonts and adds a modern twist. Glowy modern serif font also includes ligatures and alternate character, it's easy to achieve custom typography for stunning logos, headlines, and quotes. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products. ~Redy

CushingTwo is the 6-font family designed for Fontographer: Practical Font Design for Graphic Designers: Regular, Oblique, Demi, DemiOblique, Bold, and BoldOblique. The two Demi variants will be listed separately in InDesign and the Creative Suite to keep things compatible with Office and such. The inspiration was a scan of the old Cushing No. 2 font in Felici's article on CreativePro about 100 year oldtype. It's a fun, open, large OpenType font of 370 characters with oldstyle figures, small caps, and small cap figures. It needs polishing, but it's good looking.

Kisik is a handwritten font. I got a request to put my handwriting into a font, so I decided to take the challenge and design a whole typeface with three different weights (light, regular, bold) and 638 glyphs to cover all 104 Latin languages. This is my first time making a font. Hope you'll enjoy it. I sure did making it. Check out the listing of glyphs if you can use this font in your work. Otherwise don’t hold back writing to tanjagawish@gmail.com and I’ll create them.