Sumergible Script is a striking font that simulates it has been written with a dry pointed brush on textured paper. Its purpose is to decorate and accompany photos, illustrations and textures by letters designed with a generous horizontal spacing between lowercase which reinforces the idea of hurriedly and interrupted cursive calligraphy. In that sense it is spontaneous and useful to form vibrant words and sentences, shining short messages on book covers, posters and other graphic design media. Sumergible Script has new alternative letter forms that are activated with OpenType features creating hierarchy changes in writing. With Swash for example, you can change the character case with metric and similar proportions. With Titling it becomes even more expressive capitalization. Other OpenType features are: Fractions and Superscript. In short, Sumergible Script is designed to mix and match words and short phrases with a vital and expressive handwritten feel.

Ghosting Script is a calligraphic script font that comes with exquisite character changes, a kind of classic decorative copper script with a modern twist, designed with high detail for an elegant style. Ghosting Script is interesting because it is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter joints. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . Ghosting Script has , including multiple language support. With OpenType features with alternative styles and elegant binding. The OpenType feature works automatically, but you can access it manually and for the best results required for your creativity in combining these Glyph variations.

Ceebo is a friendly sans-serif, which show some aspects of a humanist and grotesque typeface. It retained more details of writing and got some forms and characteristics of an italic. The font contains some alternative glyphs. It also contains some ligatures and discretionary ligatures. In addition, there are adjusted figures and additional character for uppercase letters, lowercase letters and small caps, which react by OpenType-Feature. The font was designed to stay legible also in small sizes: beside as possible open counters, a tall x-high, distinct vents and cuts, it especially are the details of the glyphs which make it discernable. The regular weight is slightly thinner than other sans-serif fonts, moreover the diacritics and small glyphs were designed for small sizes by taller and more open forms. The resulting “ruggedness” is mellowed by half-rounded stems and pointed stem ends.

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.

Senpai Coder is a family of typewrighter-style monospaced font for developing, programming, coding, and table layout. Some desirable features in monospaced fonts are listed below. 1.Easy to distinguish 2.Easy to identify 3.Easy to read Senpai Coder has very distinguishing letterforms for confusable letters such as Zero&Oh, One&I, and Two&Z. A lot of ingenuity makes this family very distinguishable. Italics have somewhat large inclination angle to be distinguished from their Roman. For the same reason, Italics are slightly lighter than Romans. Italic is not cursive Italic. It is near the slanted Roman. This is an intentional design to identify Italic letters. Cursive is not suitable for programming font. Typewriter letterform (serif) is good for reading. Common elements for each letterform makes harmony and a sense of unity. Senpai Coder supports almost all Latin languages. Try this all-new experiment.

Childa Script with the kind of modern calligraphy font, I hope you are interested in this font, if you want to use for your work this font can be used easily and simply because there are a lot of features in it to contain a complete set of letters lower and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains several ligatures and alternate style Stylistic Sets for those of you who have software that is able to work OpenType (Photoshop / Illustrator / InDesign). Childa Script is suitable use for market design developed at this time, this font has a model Trendy, natural and gentle, with this font you can take advantage of the opportunity in every moment of one wonderful way to highlight the celebration of the feast of your best, because this font will be advocates for purposes such as wedding invitations, party, graduation, birthday, gathering, etc.

Wide font family is a geometric sans serif font, which features 9 styles. It’s based on the Futura developed by Paul Renner and neo sans-serif fonts. At the same time, it has significant stylistic differences. Massive lengthy letters are among the unique features of this font. They will help you come up with the perfect composition. The letters have optical compensation, while a circle is the main figure of the fonts. Due to wide fonts, your project will have modern and fresh design. The composition will keep its contrast regardless of a background you’ve chosen. The Widy family includes 9 styles: Thin, Extra Light, Light, Semi Light, Regular, Medium, Semi Bold, Bold and Extra Bold. Each of them also has Italic variation. The fonts are perfect for both graphic design projects (posters, brand identities, logotypes) and simple interface design, which needs the necessary style.

Future Tense is a modern type style that is perfect for logos, film, video games, packaging, signs, and more. Charles Borges de Oliveira & Vassil Kateliev's attention to letter forms insures extreme legibility without sacrificing this modern style. The 160 alternate letters will keep your designs looking fresh and different. A unique feature included in Future Tense is the small caps have their own set of small caps. This allows 3 different looks for each letter. What’s included in Future Tense: 160 alternate letters makes designing eye catching logos rewarding! The alternates are included in the small caps and second small caps as well. Future Tense is a titling face that contains small caps as well as a second set of small caps. Multilingual: support for over 200 languages. Over 2,500 glyphs make up Future Tense. PUA encoded. Take your designs to the next level with Future Tense. Please note: artwork is not included with font purchase. The images above show how Future Tense can be used in a design setting. Future Tense was designed and created by Charles Borges de Oliveira and Vassil Kateliev. This font is dedicated to Warrel Dane.

Most fonts include uppercase and lowercase letters. Some experimentally-minded designers have proposed unicase typefaces as well: rather than having two different forms for a given letter, unicase fonts have one, chosen from the upper- or lowercase forms. Ambicase Fatface takes the next step, offering not "either/or", but rather "both/and". Each letter in Ambicase Fatface is a combination of its traditional upper- and lowercase forms, in an extra-bold style. Its inventive, hybrid forms are a bolder take on those of its 2010 sibling typeface, Ambicase Modern. Ambicase Fatface stands out as a carefully crafted experimental font: its eccentric forms do not hinder its readability. It is suitable for high-style display settings. Ambicase Fatface offers a large character set and extensive OpenType features. Most notably, in modern OpenType-aware applications, Ambicase Fatface can be set in swash mode, which features sophisticated decorative flourishes that differ depending on whether the letter is at the beginning, middle, or end of a word. Ambicase Fatface is available in two optical sizes: Regular and Poster. At very large sizes, the Poster cut, with its finer details, is recommended.

As if gliding in on the tide, ITC Kahana floats across the page with the pulse and sway of the sacred Hawaiian hula dance. The original drawings for this display typeface were created while designer Teri Kahan lived in the Aloha State, and its bold verticals symbolically convey the power and strength of the Polynesian people. Kahan has spent most of her life working with letters. She discovered Speedball lettering pens in her teens, opened a design studio that specialized in the lettering and calligraphic arts while in her early twenties, and grew her business in California and Hawaii. Today, she embraces new design challenges and digital technology, but letters are still at the core of her work. In ITC Kahana, Kahan created a design that is both distinctive and versatile. Menus, posters, display headlines, packaging and brochures fall easily within this typeface's range. And the word “kahana” is more than just a namesake: in Hawaiian, “kaha” means “to mark, draw, place, turn or surf,” and “na” means “belonging to.” ITC Kahana also includes an enchanting decorated alphabet in the lowercase position that expands this typeface's usefulness to the designer.

Most fonts include uppercase and lowercase letters. Some experimentally-minded designers have proposed unicase typefaces as well: rather than having two different forms for a given letter, unicase fonts have one, chosen from the upper- or lowercase forms. Ambicase Modern takes the next step, offering not "either/or", but rather "both/and". Each letter in Ambicase Modern is a combination of its traditional upper- and lowercase forms, in a modern (didone) style. The inventive, hybrid forms that result are intriguing and handsome. Ambicase Modern stands out as a carefully crafted experimental font: its eccentric forms do not hinder its readability. It is suitable for high-style display settings. Ambicase Modern offers a large character set and extensive OpenType features. Most notably, in modern OpenType-aware applications, Ambicase Modern can be set in swash mode, which features sophisticated decorative flourishes that differ depending on whether the letter is at the beginning, middle, or end of a word. Ambicase Modern is available in two optical sizes: Regular and Poster. At very large sizes, the Poster cut, with its finer details, is recommended. For an extra bold variant, see its sibling typeface, Ambicase Fatface.

Keep it fresh with South Coast! A cool and confident brush font designed to deliver refreshing script lettering to a range of design projects. South Coast consists of: South Coast • A handwritten brush script font containing upper & lowercase characters, numerals, and a large range of punctuation. South Coast Alt • This is a second version of South Coast, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. South Coast Swash • A third font containing 23 hand drawn swashes. Simply type any a-z or A-Z character in this font to generate a swash. Perfect for underlining your South Coast text and adding a bit of extra flair! Ligatures • 15 ligatures (double-letters) are included to help your lettering flow more naturally. Language Support • South Coast fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Madelican is a beautiful combination of modern and classical calligraphy, inspired by the handwriting of Italian women and ancient manuscripts. I think calligraphy has an advantage for the alternate characters, Madelican has tons of possibilities for just one letter. My exploration of this fonts was not as easy as in my imagination, it took several trial and errors for the perfect balance of the style. Madelican is very suitable for weddings, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires a classic, formal or luxurious touch. Almost all letters have more alternate than others, it is fine because the limitations of the shape of the letters. It must be readable and legible. Every letter that I've chose are only the best on it and fit with the character style. Multi-lingual support and up to 16 stylistic alternates. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows). And feel free contact me if you have a question.

Geometric elements combined to create solid square letters. Makes for interesting blocks of text - and headings. All the diacritical letters have the diacritic embedded into the base letter, so every glyph in this font is within a square. Start stacking your text! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Persimmon is elegant and semi-formal with some very unusual letter shapes. Calligraphic in nature, Persimmon can be used where you want a distinctive and unique lettering style.

Melcheburn is a classic late-medieval gothic font based on original lettering by Samuel Welo. It has strong, formal lower case letters and extremely ornate and decorative capitals.

From a few hand drawn letters seen on a poster from 1939 you may find this font familiar. Miss Scarlett resembles the Gone With The Wind poster lettering.

The letters of this cursive font connect together to create script lettering that will add a unique touch to your special occasion announcements, invitations, scrapbook layouts, and programs.

Inspired by the stroke movements of brush lettering ‘Summer Display’ is an energetic family featuring high-contrast and well-proportioned letter shapes suitable for large displays and headlines.

A handcrafted font with extremely narrow letters, suitable for headings, logos, brands, menus, invitations, but can also be used with lowercase letters. Designed 2022 by Joachim Frank Germany.

Introducing our newest font, "Million Smiles", a casual bold script font with hand-letterred style. Million Smiles is an upgraded version of our previous font, "Billion Dreams". In this new version, we've rounded the edges a bit for a softer look, compared to the sharp edges of the old one. This enchanting font is the perfect choice for design projects that aim for a fun, urban, and classy vibe. It adds a touch of cool to your creativity without losing its elegant charm.

Slowly - A Classy Handwritten font perfect for high impact headlines Every single letter has been creative carefully and Perfectly Playful new font pair. This font is a perfect script designed for making your set of invitations, Brand, blog posts, and more completely beautiful multilingual support for the following languages:​ Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Icelandic, Indonesian, Irish, Italian, Norwegian Bokmål, Norwegian Nynorsk, Portuguese, Spanish, Swahili, Swedish, Swiss German. Thank you for purchasing our product again Paula Type :)

Tripfills is casual script font, with clean thick contrast stroke, slanted and fun character. It has Opentype features ligatures of character and lowercase alternate, To give you an extra creative work. Tripfills font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font pair with sans or serif. Make a stunning work with Tripfills font. Cheers, MaulanaCreative

Introducing "Cringe": a captivating typeface that draws inspiration from the mesmerizing world of psychedelic pop culture and combining it with a uncial letter form and calligraphy approach. Each character exudes a sense of whimsy and free-spiritedness. Cringe Font Family contains 5 style regular, medium, semi bold, bold, & Expanded. It comes with Stylistic set & ligatures. Ayr Cringe Font Family is best used for headings, logotype, quotes, apparel design, invitation, poster, flyers, greeting cards, packaging, book cover, printed quotes, cover album, movie, & etc

Areaman OT is a fun chunky ALL CAPS display font. I wanted it to look blocky and loud, So it can scream from Posters and Headlines. It has over 300 glyphs, several variations on the standard alphabet and all those extra pesky foreign features. It also has various letter pairing with extra ligatures and flourishes available through OpenType or your Glyphs palette. This upgraded version is now coded with OpenType features to create a randomised bespoke look and feel to your copy.

Introducing the Love Shine. made with love design harmony in every single character. love Shine and a touch of the extras makes this font look great and stylist. Plus the OpenType features that allows you to mix and match pairs of letters to fit your design. and last the beautiful all will make you work easily to create : Badges, lable, greeting card , book cover, Posters, Logos, Print, Quotes, Headers, Clothing, etc. Features : Uppercase + Lowercase Numerals & Punctuations Stylistic Alternates Thank you

Tuscan wood types cover a fairly wide range of styles, and there is sometimes confusion over what is classified as a Gothic Tuscan and what is considered an Antique Tuscan. HWT American Chromatic and P22 Tuscan Expanded are more precisely faces of the Antique Tuscan variety. Gothic Tuscans are generally absent of the heavy serifs typically associated with their Antique Tuscan brethren (although decorative bifurcation of terminals can imply serifs). Additional internal decoration with spikes along the stems gives some Tuscans their distinctive look, these faces are often described as “Circus Types.” Tuscan Extended is an extremely wide design, with a distinctive slab crossbar running through the center of most characters. Each letter is a complex system in its own right. This typeface is best used very large in short headline work. The style defies falling clearly into either the Antique Tuscan or Gothic Tuscan category. The new HWT version of Tuscan Extended has been meticulously redrawn by Frank Grießhammer. During production, he also incorporated a number of new letterforms, bringing the font to over 300 characters (including a full ASCII character set and Central European accented characters).

Smart, legible and elegant, Gravesend Sans is a based on the unique typeface used for the iconic grass-green signage for the Southern Railway. In existence from 1923 to 1948, when the network was nationalised, the Southern Railway linked London with the Channel ports, South West England, the South coast resorts and Kent. The same design was also used for the ‘hawkeye’ signs on the London, Midland and Scottish Railway, differentiated by black letters on a yellow background. Reference for each letter was taken from vintage ‘target’ station nameplates and other platform signage. The rarest letters were the Q, seen in Queens Road Battersea, the X, seen in East Brixton, and the Z, used in Maze Hill, site of an infamous train crash in 1958. Being hand-made, the letters often differ in width and thickness. There was no lower case. The Bluebell Railway, a heritage steam line, runs over part of the old Southern Railway network and uses a very similar type. The design of the numbers differed considerably, but here have been taken from the Device 112 Hours font Smokebox. As well identifying platforms, they were used on the front of the steam engine’s smokebox, hence the name, and stylistically are more in keeping with the letters than some of the squarer versions that can be seen in old photographs. William Caslon IV is credited with the first Latin sans-serif type, shown in a 1816 Caslon specimen book. ‘Two Lines English Egyptian’, as it was called, was caps-only, and there are several other correlations between that type design and this one. Includes a selection of authentic arrows and manicules, plus abbreviated ligatures such as ‘St.’ (Saint or Street) ‘Rd.’ (Road) and ‘Jn.’ (Junction). The Cameo version includes many graphic banner elements that can be freely combined.

Lush was a formal script until it had a few too many drinks and, as a result, loosened up a little bit. Harkening back to the handlettering of the 40s and 50s, Lush has evolved into a casual, but well-dressed script that maintains a rather aggressive rhythm. Transitions often whip back quickly, forcing the letters to reel from the movement and resolve efficiently. It is not as warm as some scripts, intentionally so, so as to distinguish it from its predecessors. Type and lettering fans will revel in the options afforded to each character—in some cases there are up to 15 different variations with multiple glyph recipes available to produce the most unique and fluid lettering combinations possible. An often overlooked segment of contemporary script fonts, the uppercase letters have at least 3 options to work with that mesh well with the 36 ornamental flourishes to add even further embellishment. In total, there are over 1,650 glyphs in the typeface that includes these OpenType options: Stylistic Alternates, Contextual Alternates, Swashes, Titling, Historical Forms, Initial Forms, Oldstyle Numerals and 3 additional Stylistic Sets. With this release, I have tried to provide as much flexibility and 'forgiveness' within the typeface so the lettering enthusiast can have fun and explore thousands of iterations… and it's pretty easy math to figure this out: with over 970 alternates and 270 ligatures, I intended this typeface to be one that keeps on giving. One important fact to note… this marks the first release of a smooth, non-brushed, non-textured script from me—but it won't be the last. That said, I will have to admit that the brush has influenced many of the characters and their construction. Enjoy :)

Nuyork Arabic was designed to emphasize on the individual Arabic letter visual traditional characteristics. Including 5 weights, it was designed with both text and display applications in mind. This font is intended to produce virtually cursive texts without eliminating the clarity or look-and-feel of the individual Arabic letters. Offering glyphs for the full Extended Arabic Unicode Standards 6.1, including the latest Arabic Supplement and Extended-A Unicode blocks, Nuyork Arabic incorporates comprehensive support for Quranic texts and other Arabetic scripts, including African sub-Saharan scripts. Careful design considerations were given to make sure that composed Arabetic text is visually prominent and stands well next to Latin. To insure legibility in all sizes, vertical strokes are emphasized when possible, while utilizing multiple x-heights to give a traditional Arabic feel. The design of this font follows the general guidelines of the Mutamathil type style developed by the designer, a decade ago, to enrich and diversify user typographic options, and to address the Arabetic scripts challenges of literacy, education, economics, and technology. Based on this style, it uses one glyph for every basic Arabic Unicode character or letter, as defined by the latest Unicode Standards, and one additional final form glyph, for each freely-connecting letter in the traditional Arabic cursive text. Nuyork Arabic includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned, with most of them appearing on similar high and low levels to clearly distinguish them from the letters. Tatweel, or Kashidah, is a zero-width glyph. Arabetics Latte includes both Arabic and Arabic-Indic numerals. Available in Open Type format, the Nuyork Arabic font family includes regular, light, bold, extra bold, and black.

Oddsorts is delighted to present Bradley Wayside and Bradley Chicopee as its début offerings. Begun in 2000 as a wedding gift for the designer’s wife and used privately for years, they’re finally available to the public. The fonts were inspired by the masterful art nouveau lettering of Will H. Bradley, whose posters for Ault & Wiborg printing inks and Victor Bicycles continue to draw collectors after more than a century. Wayside and Chicopee expand the twenty-odd characters Bradley drew into a comprehensive multiscript system that includes modern Greek and extended Cyrillic alphabets, ordinals, automatic fractions, and ornaments. Bradley Wayside and Chicopee derive much of their charm from an organic mix of shape and spacing intrinsic to hand drawings. Mimicking that spirit in type used to mean painstaking substitution and adjustment of characters. The Bradley fonts make imaginative use of OpenType’s power to achieve the same effect — minus all the work. Wayside and Chicopee contain alternate forms for every letter — up to seven for some characters. Part of what makes these Bradley types delightfully “smart” fonts is that the fonts themselves actually choose the variation best suited to a letter’s place in a word. All you need to do is turn on your software’s “Ligatures” or “Contextual Alternates” option and the Bradleys do the rest. The alternates even work in most word processors. Bradley Wayside and Chicopee are available in “Standard” and “Pro” editions. The Pro editions sport all the bells and whistles, including the alternates. They support over one hundred forty languages and include localized forms especially for setting Bulgarian, Serbian, Polish, Romanian, and Turkish. The Standard editions are geared toward casual use and are ideal for license as webfonts, where streamlined character sets mean faster load times.

ITC Symbol font was designed by Aldo Novarese, a simple, straightforward design of understated elegance. It has just the hint of a serif to aid legibility. Book and medium weights have a light, even color and are perfectly complemented by the bold and black weights. The italics are clear and simple, a comfortable companion to the roman.

Rotwobot is a loveable modern typeface with a slight retro appeal. It comes with quite a lot of ligatures and also robots and musical instruments. The font features auto ligatures for duplicate letters, many connected letters, quite a few graphical elements that can be accessed by shortcuts (lowercase letter + number form 0-9) and smallcaps.

The hand lettered title found on the sheet music for 1938’s "So Help Me (If I Don't Love You)" was the basis for Totally Deco JNL, which is available in both regular and oblique versions. A classic mix of widely rounded letters and condensed letters typifies the design style of the Art Deco era.

Moore 003 was inspired by Henryk Tomaszewski's poster lettering for the Moore Exibition (Warsaw, Poland 1959). The headline "Moore" is composed of paper collage. The lettering, in Tomaszewski's vision, contrasts in ways that recall the contrast of Moore's sculptures. It was my intention to continue this research using lettering in the form of a typeface.

The 1960 revised edition of Sam Welo’s “Studio Handbook – Letter and Design for Artists and Advertisers” showcases the many interesting lettering designs Welo hand lettered for his book. One such example is an extra-bold serif typeface which is now available as Law Office JNL, which is available in both regular and oblique versions. --------------

Kailey font is a hand lettered, voluptuous typeface that is very special to the Great Lakes Lettering team. This oblique font is inspired by Molly Jacques’ “signature” lettering style, using bold brush strokes, fluid flourishes, and distinctive characters. Kailey has a distinct feminine feel that takes on a bold attitude to match her curves.

Nostalgia Collective is a vintage serif font. With many alternate features for each letter, Nostalgia Collective provides flexibility and variety in the appearance of the text. Each letter has a unique alternative, adding a creative and eye-catching touch to your designs. Features : - Regular, Italic - Ligatures & Alternates - Letters, numbers, symbols, and punctuation - Multilingual Support

State Of Love and Toast is a retro typeface reminiscent of the early 90’s. It’s certainly the Seattle of fonts. The font features auto ligatures for duplicate letters, quite a few graphical elements & shapes which can be accessed by shortcuts (lowercase letter + number form 0-9) and smallcaps (alternate versions of the lowercase letters).

Rosalinde is an original font based on rough hand-lettering reminiscent of 1960s era protest poster lettering. It's the kind of lettering you'd expect to see used for a snippet of anti-war poetry set against a red-white-and-blue striped background, or perhaps accompanied by a fat dove with an olive-branch.