Beatrix Antiqua is a humanist sans-serif typeface designed by Francesco Canovaro. Beatrix Antiqua is part of the Beatrix Family that takes its inspiration from the classic Roman monumental capital model: its capitals are directly derived from the stone carvings in Florence Santa Croce Cathedral - where the serifs are often removed while keeping the variable width strokes. So, even if it’s basically a sans-serif, Beatrix keeps a subtle swelling at the terminals suggesting a glyphic serif - in the same vein as Herman Zapf classic Optima typeface. In the lowercase design, Beatrix references early humanist typefaces, keeping small calligraphic details (as the prolongation of the e nose) that are especially visible in the italics. While Beatrix Antiqua, the companion typeface to Florentia , slightly exaggerates its antique stylistical features, Florentia tries to mix those influence with a more robust & digital age ready design, featuring bigger X-height and an extended character set that covers over forty languages using the latin alphabet, as well as Greek and Russian Cyrillic.

Amika™ is a rational geometric sans serif with an engaging personality and a contemporary profile. The large x-height, minimal contrast and the double storey 'a' makes Amika™ a highly legible typeface suited for any kind of text applications, from display poster type to massive text layouts. Amika™ has 22 styles and it's a workhorse type system. Versatile and reliable, it covers 230+ languages, including extended Latin, Cyrillic and Greek writing systems. With over 1280 glyphs per style, its Opentype features include alternative shapes, small caps, standard and discretionary ligatures, localized forms in Latin and Cyrillic, case sensitive forms, numerators and denominators, proportional and tabular figures, slashed zero, fractions and more. With a tectonic touch, Amika™ is a prototypical sans serif of the New Media age that, due to its extensive set of features, conveys a great choice for a wide range of applications, from branding to broadcast.

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."

Introducing vintage label font duo named Muscle Cars. These two fonts has an additional characters and multilungual support (check out all available characters on previews). Bold and Script fonts has two styles: Clean and Aged. This font will look good on any vintage styled designs like a poster, T-shirt, label, logo, etc.

This classic face is based on Kleukens Scriptura, designed by Friedrich Wilhelm Kleukens in 1926 for D Stempel AG. It served as an alternative to Lucien Bernhard's Cursive and an inspiration for Oswald Cooper's Pompeian Script. Both versions of the font contain the complete Unicode Latin 1252 and Central European 1250 character sets.

Introducing a vintage look label font named Race To Space. All available characters you can see at the screenshot. This font have 7 styles - Regular, Shadow, Texture, Shadow FX, Texture FX, Full and Aged. This funny style font will good viewed on any retro design like poster, t-shirt, label, logo etc.

Introducing vintage label font named Fishman. This font has a multilungual characters support (check out all available characters on previews). The font family has six styles: Regular, Shadow, Light, Shadow FX, Light FX, Aged. This font will look good on any vintage styled designs like a poster, T-shirt, label, logo, etc.

In today's day and age, the term "calling card" refers to a prepaid means of making long distance phone calls. In a more gentler time, the calling card (similar to a business card) was what a gentleman presented to a housekeeper or butler when visiting (calling) on a friend or business contact.

The Scrivano family was designed by Ricardo Esteves Gomes, inspired by some handwritings from the Middle Ages and Renaissance period. There are four elegant organic font styles (Regular, Italic, Bold & Bold Italic) that can be very useful to compose long or short texts in graphic standards that need some 'old style' feeling.

I've always been drawn to the beautiful typography of whiskey, gin, rum & bourbon bottle labels, as they enhanced the history that is behind this aged old spirits. A combination of elegant scripts and rugged serifs, these labels give sensibility to the slow process which these spirits go through in the distilling process.

The design of Beau Sans was inspired by Bernhard Gothic which is considered one of the first contemporary American sans serifs and was designed by Lucian Bernhard in the late 1920s. Panos Vassiliou came across this font while attempting to reduce the design elements of a text typeface, by introducing Bauhaus-like minimal forms to the characters. The first version was completed back in 2002 and introduced one year later in Parachute’s 3rd catalog, under the name PF Traffic. Some time later it was decided to make a few improvements but the project was so carried away that the new typeface which emerged needed urgently a new name. Beau Sans Pro is a modern sans-serif family of 16 fonts which includes true-italics. Just like all other Parachute fonts, it covers a broad range of languages by incorporating 3 major scripts i.e. Latin, Greek and Cyrillic in one font. Furthermore, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life. This typeface is totally recommended for titles and/or body text when you want to give a distinct and contemporary identity to a product or service.

From the standpoint of calligraphy, a font family of capitals and uncials makes perfect sense. The Roman square capitals, the quadrata, are matched by round capitals of older Greek origin; the word "uncus" means hook-shaped like a beak or talon. Interrelated and often interchangeable, these capital letters served as book hands for both the Latin West and the Greek-speaking East before they evolved into minuscule alphabets. The Testament family is based on the few formal capital manuscripts of the Bible, Virgil and Homer that have survived from the ancient world. Throughout the Middle Ages both uncials and square capitals were used, often together, for headings and initial characters. By their nature the Roman capitals are the voice of Caesar and hold the place of authority, while the uncials speak for the Church in a balanced relationship. In ancient times church and state were not as separate as they are now, and the alphabets were not as different as typographic tradition has made them. In this calligraphic rendering it is clear that they are of the same substance and can be written in the same style, conveying even to the modern eye the eternal and classical quality of epic and scripture. Testament comes in all popular font formats, and includes support for a vaster-than-usual range of Latin-based languages.

TOUCHDOWN! This is not a Hoax, not a What If, not an Imaginary Font! The Eagle has Landed... Comicraft's latest manned mission: Space Age Faces for Space Age Spaces! Our Apollo Modules have settled in the moondust and our Astronauts are buckled up in the Rover collecting little rocks and looking for suitable spots to play golf. We invested billions and billions of dollars to send these fonts into space using the largest and most powerful rockets ever built, and rest assured, our Orbiter is coated with a phenolic epoxy resin ablative heatshield to protect you for your journey back to Earth. Features: Six fonts (Modular, Modular-Bold, Orbiter, Orbiter-Bold, Rover, Rover-Bold) with upper and lower case characters. Opentype version of Orbiter also includes 52 auto-ligatures.

Say hallo to our newest item: Devilion, an amazing hand lettering bold script typeface with attractive swashes and alternates! This font is perfect to be applied especially in logos and various other formal forms such as invitations, labels, magazines, books, greeting/wedding cards, packaging, fashion, make up, stationery, novels, or any type of advertising purpose. This fonts comes in 2 style, Regular with clean script looks and Stamp to give an aged and vintage feel. Features : uppercase & lowercase numbers and punctuation multi-lingual ligatures alternates swashes PUA encoded What will you get : Devilion Regular Devilion Stamp We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. Email us to letterhend@gmail.com if you need something! Happy Designing!

Cracked Concrete - Vintage Serif Font is a typographical masterpiece that instantly transports you to the golden age of classic design. This font exudes timeless charm with its bold, classic serif characters that embrace the aesthetics of retro and vintage design. The font offers two distinct versions to cater to your design needs: a clean variant for a polished and refined look, and a textured version that adds depth and character to your creations. Additionally, it provides two thickness options, regular and bold, allowing versatility in your projects. Cracked Concrete - Vintage Serif Font is the perfect choice for logos, invitations, packaging, posters, titles, businesses, greeting cards, magazines, and any design projects that seek to capture the essence of retro and classic themes. Unleash the nostalgia and classic elegance of Cracked Concrete, and let your designs shine with vintage sophistication.

Introducing vintage label font named Bogardus. This font family has an alternates for small letters of Eanglish alphabet, additional characters and multilungual support (check out all available characters on previews). Typeface has four styles: Regular, Inline, Italic, Aged. This font will look good on any designs like a poster, T-shirt, label, logo, etc.

Let your mind wander, think about new cultures, missing links. After discovering a bamboo pen, the founder of the first digital type foundry in the northeast of Brazil proposed a set of graphic signs for a fictional civilization. Stone, established in 1999, is the only record of a mystical culture from the age of rocks.

Stonecut JNL is an adaptation of a novelty display face found in one of the Dan X. Solo lettering books. Resembling letters made from cut stone, both the inline and solid black versions are perfect for themes encompassing outdoors, the Stone Age, "macho" events or anything where an unpolished or rustic look can be adapted.

A few simple rules govern the letterforms of this decidedly digital-age typeface, and the nonstandard stencil treatment adds a gentle sense of motion to the overall design. Available in two weights, all versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

This unicase beauty is based on the typeface Vesta, originally designed by Albert Auspurg for H. Berthold AG, Berlin and introduced in 1926. Classic, stylish and elegant, this typeface will add grace and charm to any project. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Tighten up your capes, pull those cowls over your eyes and hoist your underpants over your trousers as far as they will go! Silver Age super heroes know that Men of Action can never look foolish fighting crime in their pyjamas and neither will you with the help of our latest crack-kerning offering.

Introducing vintage label font named Happy Trip. This font has a wide languages support with west european and cyrillic characters (check out all available characters on previews). The font familty has six styles: Regular, Aged, Texture, Outline and three colorful styles. This font will look good on any vintage styled designs like a poster, T-shirt, label, logo, etc.

PT MEDIEVIL is a new display font inspired by artefacts of the dark middle-ages with a contemporary twist. It contains 195+ meticulously crafted glyphs characterized by: -Upper part indented inward to be true to imperfect handwritten medieval typography -Smooth curve shapes -Rounded intersections between shape sections -Rounded serif Easily create headlines, display titles, subheadings, body copy.

A pillow fight is usually quite refreshing, no matter what age you have. And here is a font which has the exact same effect on your designs! The Pillow Fight font is multilingual, handmade and is a kind of fresh unicase with a brushy breeze! Go for sayings, short messages or catching headlines when using Pillow Fight!

Tracker is a geometric twin-line font reminiscent of space-age disco designs of the 60s and 70s, but entirely reexamined, rationalised, redesigned and updated for contemporary use. Best seen in shorter, punchier settings and at larger sizes. The font includes connecting ligatures that can be toggled an and off in the Opentype palette to further customise your text.

Neuf family is an experimental search for new Art Deco letterforms, which are still easy to read and generate some unexpected attention.The distinguishes Neuf favoured by Art Deco and its predecessor Art Nouveau with a modern design touch. The style of Neuf is characterized by geometric shapes and craft motifs with Machine Age imagery and materials.

Grand Sword is a wide serif and high contrast display font, which is inspired by the swords of the antique ages. There are two styles which are regular and outline. This font family also includes lots of eye-pleasing ligatures and alternatives. By using these opportunities of Grand Sword Typeface, you can create unique and stylish designs.

Introducing vintage label font named No Remorse. This font has a multilungual and cyrillic characters support (check out all available characters on previews). The font family has six styles: Regular, Inline, Shadow, Inline FX, Shadow FX and Aged. This font will look good on any vintage styled designs like a poster, T-shirt, label, logo, etc.

Childlike on the surface, Gongo hides the maturity and wisdom of age. Flowing freely across the page with a graceful ease, Gongo manages to make its mark with every letter, resonating deeper than first appearances. For authority backed up in a friendly tone or wisdom imparted in light hearted words, Gongo is the go to font.

Inked Bones is a hand painted blackletter typeface, created by Måns Grebäck during 2019. It works perfectly in Medieval contexts as well as in modern Gothic style typesetting. Use the typeface for a tattoo graphic or for your Middle Age project. The font supports all Latin-based European languages, contains numbers and all symbols you'll ever need.

"Switzal Font" speaks a universal language of happiness and optimism. It transcends age, culture, and borders, making it perfect for projects that aim to connect with a wide audience. Let your imagination run wild as you create eye-catching headlines, captivating slogans, or playful branding. "Switzal" font is your ticket to infuse a dose of happiness into your designs.

Reminiscent of the hand-lettering found in mid-century children’s books, Akemi Aoki’s MVB Grenadine is a quirky sans, broken free of its geometric roots. Letterforms bounce along the baseline in a jolly dance, yet remain clear and legible, whatever the reader’s age. MVB Grenadine is available in a broad range of six weights, each with italics.

Introducing vintage label font named Beard Point. This font family has an additional characters and multilingual support (check out all available characters on preview). The font family has six styles: Regular, Shadow, Texture, Shadow FX, Texture FX, Aged. This font will look good on any vintage styled designs like a poster, T-shirt, label, logo, etc.

This typeface has been influenced by the Melbourne city landscape. One building in particular reflects this typeface, this building is located at 90 Flinders Street, Melbourne, Australia. This font is also influenced by computer age fonts such as Bubbledot and Digital. This typeface aims to be bold, angular, dynamic and original. Its primary function is heading use.

This snappy little number was inspired by a PLINC typeface by Murray Fuchs called Erwin, which has been redrawn and improved for the digital age. Use Contextual Alternates to "bounce" the text, and Discretionary Ligatures to enable some interlocking letter combinations. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.