Introducing Clarinet - Retro Type, created by ikiiko. Clarinet - Retro Type is a display type inspired by retro fonts in the 60s era. The letters are bold serif fonts with simple vintage strokes. This font has the characteristics of a serif font that is firm and sturdy but still has flexibility. This typeface is perfect for an vintage logo, packaging, magazine cover, poster & flyer design, wedding, invitation and also good for vintage product, or simply as a stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Alternates & Swashes Multilingual Support Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

When Jim Lee sent us pages of his latest project, DIVINE RIGHT, we knew we had to do something special for him. Something Unique. We knew we had to create a whole new look for his book. We spent weeks holed up in our Colorado mountain retreat, meditating on the true nature of leading and kerning, sketching out ideas and rejecting all but the best of the best. As the dreaded deadline doom rapidly approached, we suddenly knew we had the answer: A line of 'Celebrity' fonts -- digitally remastered lettering based on handwriting samples of the many Artists and Creators we all know and love. Of course, our first font would have to be...the SAMMY DAVIS Jr font! But Jim didn't like that idea and made us create a font based on his handwriting instead. You're no fun, Jim.

Calligraphica was designed because there are very few inline fonts, and even fewer inline calligraphic fonts. The original forms were written with a split pen in a single stroke. The minuscules have a rougher look and the capitals have a smoother shape to imitate hand written calligraphy with more formal, decorative initial caps. The Calligraphica family contains 6 fonts: Calligraphica Regular and Italic are the regular upright roman true italic version of the font. The ascenders on this font are a bit higher than the capital letters--this is standard for most fonts. Calligraphica LX Regular and Italic are similar to the first 2 fonts except their ascenders are longer and reach high above the capital letters--giving these fonts a taller appearance. Calligraphica SX Regular and Italic are similar to the first 2 fonts except their ascenders are shorter and are the same height as the capital letters--giving these fonts a shorter appearance.

Cellofy This serif-type Cellofy font is made with several types of families ranging from regular to expanded. This is to make it easier for designers to get many choices in a font family, aiming to make it easier to explore with many choices. happy exploring various projects, hopefully, Cellofy can collaborate on your design.

Linotype Fluxus is part of the Take Type Library, chosen from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This fun font was designed by German artist Andreas Karl. Its wavy contours give the font a restless, choppy feel. Its relatively strong strokes make Linotype Fluxus particularly good for headlines.

This font has a lovely roundish shape and gives us cute and relax impression. But because it is upright, it has a well-ordered atmosphere. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Crassula is a versatile display font. Like the plant of the same name (Crassula, jade tree, money plant), which has thick juicy leaves, the font is distinguished by rounded contours and smoothed out forms of elements. Stylistic Alternates offer more traditional letter shapes and make Crassula more readable in long texts. Six weights allow a broad range of applications - from informal book and magazine headlines to emotional marketing ads. The font was designed by Natalia Vasilyeva and released by ParaType in 2018.

Frutiger Next is Adrian Frutiger's and Linotype's completely new interpretation of the well known typeface Frutiger released in 2000. For these revised forms, the areas of application are almost limitless. Frutiger Next can be used for anything from office communications to multimedia to complex printed materials. The Frutiger Next family contains small caps, oldstyle figures, and other figure options in every font. Adrian Frutiger's eponymous typeface has been used for decades, everywhere from airport signage to book text to corporate logos to the smallest web graphics. The Italics in the original version of Frutiger were based very closely on the Roman forms; in Frutiger Next, they have been re-designed to be true Italics.

Monoweight / Geometric / Utilitarian Although sturdy straight out of the keyboard, this true mono weight sans is built for more. Snips sacrifices several traditional letterform nuances for the sake of being easily broken apart and customised. Its modular construction is perfect for novice and experienced designers interested in modifying existing typefaces to fit their project needs. Font Key Features: Uppercase & Lowercase Characters Numbers & Punctuation Multiple Language Support Single Weight Usage: Snips provides an excellent base for lettering and logotype projects. It’s modular construction makes it easy to break apart and rebuild into unique custom letterforms, the potential variations are endless. In addition, Snips is also great for headlines and callouts in you favorite working class / industrial era designs.

Scillienta is a considered and exacting handwriting font that includes unique ligatures, characters for multiple languages, and a range of mathematical symbols. Inspired by the condensed, small, skinny handwriting traits I have consistently seen in scientists' handwriting, it exemplifies the effort of trying to write neatly when appearance is not the first priority. Scillienta is well-suited to handwritten notes and labels, school work and professional scribbles. It also works well as handwriting on electronic devices such as iPads and other cases in which handwriting might appear less fluid than usual. Scillienta includes 287 glyphs and 17 ligatures to ensure that common double- and triple-letter combinations retain the true-to-life inconsistencies of real handwriting.

It's that time of year again, isn't it? And yes, we're speaking rhetorically, because our true intent is to rouse voters into action, claim a significant gain in support over our nearest rivals and lead the nation, perhaps The World, into a new era of prosperity, one in which our once proud nation can become great yet again! An era of Hope, a time of peace and an end to war! Because never, in the field of human conflict, have so many, given so much and gained so little so that the have nots can reward themselves and those that have and-and... Victory, and Hope, and Greatnessness! Related font: Victory Speech Lower

This font is a new fresh type of caligraphy hebrew font. The opentype features are much better then those are in the font market.

Melancholia is a subtle and beautiful sans-serif inspired by calligraphic letterforms. The name describes a feeling of deep sadness, an intense sensitivity to the world. The design of Melancholia is an attempt to introduce some of that wistfulness into the sans-serif form, a typographic classification that is often characterised by an austere functionality. Melancholia includes a set of true italics influenced by old-style serif italics, such as those found in Claude Garamond’s eponymous typeface, as well as a set of stylistic alternates and calligraphic-style swash characters.

Taler is a serif typeface is represented by seven weights. It was conceived as a continuation of the sans-serif Nekst. In the process of design it became clear that it is a completely different typeface. The rectangular, slightly elongated serifs, the plastic stiffness, and the combination of different styles make Taler a true representative of contemporary. It's old-fashioned and modern, it's for a display titles and for plain text, it's rough and elegant — it's all present in design at the same time. The duality of it nature is it peculiarity.

At first glance, Handbills and Posters JNL bears a strong resemblance to Classroom JNL. True, they both share the visual qualities that are based on Franklin Bold Condensed, but this is where the similarity ends. Handbills and Posters JNL is a refined re-draw of the classic design, based largely on vintage typographic examples. There are also some character variances. Classroom JNL is a rougher alphabet with varying curves and lines, and resembles such letters traced and cut out of construction paper for a bulletin board display at school.

Diorite is modern face built on classical letterforms -- but left with a bit of residual roughness. Some might call Diorite forthright, others brutal. (It reminded the designer of the dark, hard igneous rock of the same name, treasured by the ancient Egyptians for statuary.) The typeface has a relatively chunky, four-style family; the italics are true cancellaresca corsiva, also writ heavy. "The cancellaresca is of course a Gothic design," notes the designer. "Just use a broader pen, and you'll see!" Has four styles: regular, bold, cursive, and cursive bold.

Sittl Pro is a professional version of the style of the same name in our Plaquette package, including 4 weights and true italics (most letters are not simply slanted but carefully crafted for that purpose). The smooth retro look achieved by softly rounded edges and a geometriec appeal is ideal for logos, company identities, menu cards, magazine headlines and the like. There are many choices regarding alternatives – choose the 20 stylistic sets, ligatures as well as initial and final forms to create unique typography for your next stylish project.

Hoxton North came out of the concept to create something distinctly British, drawing on modernist influences such as Edward Johnston's typeface for the London Underground and Gill Sans. A humanistic san serif typeface with a British modern quality. Open forms with subtle contrast promote good readability across a wide range of media in both print and screen. The compact letterforms give it a strong lateral dynamic that is space efficient across design layouts. Details include 620 characters, seven weights with true italics, small caps, manually edited kerning and Opentype features.

One of the odder things I remember from high school (50+ years ago) is the tile floor of hexagons in the bathroom. There is something fascinating with the way hexagons fill the plane. BakerHalfDozen is made of white letters that fit on black, hexagonal tiles. BakerHalfWhite switches the letters to black on white tiles, and BakerHalfBare eliminates the tiles. There are no true lower-case letters, but some letters have alternate shapes. To make the tiles line up right, alternate lines must be indented half a space. Use the {} characters (brackets) to do this.

Garnison, is a contemporary take on the humanist sans serif from Eric Gill with readability and craftsmanship at its core. Specially designed for editorial and publishing purposes. Garnison blends Eric Gill’s humanist sensibilities with a younger, more versatile attitude with 74 variations ranging from lightest hairline to heaviest black, the family features an extensive set of weights and optical sizes, matching true italics and lots of cool OpenType features. The variation in stroke width and letterforms help it achieve great scalability while still retaining its character. For inquiries please contact ozfoundry@gmail.com.

Goudy Sans Bold was originally designed by Fredric Goudy in 1922 as a less formal "gothic" and finished in 1929. The light was designed in 1930 and the Light Italic in 1931. Alternate letterforms are included in these three Goudy designs which are digitized true to their original design. In 2006, designer Colin Kahn drew "LTC Goudy Sans Regular" which is a medium weight version intended for text purposes. Kahn has also designed an experimental "LTC Goudy Sans Hairline" which has a skeletal almost mono-width stroke and results in a surprisingly elegant display face.

Who haven't heard the phrase that ‘any past time was better’?. Although I sometimes find this phrase a little too pessimistic (because I try to think that the best is yet to come), it may be true regarding my passion, typography. I'm too young (29) unfortunately, and this means I did not have the pleasure of being contemporary with maybe the man who has influenced my work the most (1). The man that showed that letters are more than just letters to be read. Herb Lubalin (1918-1981), also called sometimes as ‘the rule basher’ (2), smashed the taboos and sacred rules of type design and gave it personality. He rejected the functionalist philosophy of europeans in favor of an eclectic and exuberant style. To him, letters were not merely vessels of form, they were objects of meaning. (3). Nowadays, when looking at his portfolio, who dares to deny that the term ‘typography’ and ‘beauty’ may go hand-in-hand without any problem? Ed Benguiat, one of Herb’s partners, still likes making jokes with the phrase “screw legibility, type should be beautiful” and what I understand of this is not to forget the rules, but to know and break them carefully. In an era of pure eclecticism, we, the lovers of flourishes and swashes, can't do nothing but admire all the legacy that Lubalin, this wonderful type-guru, left. My font Lubaline read as “the line of Lubalin” is my humble tribute to him. Those who know his work, may see the influences easily like in his ‘Beards’ (1976) and ‘The Sound of Music’ (1965) posters; the art-deco forms in many of his amazing logos and practically in all his creations where letters seem to be alive just like you and me. I really hope that the future finds me still learning more and more about type-design and letterforms, and like him, always willing to make innovations in my field: Because letters are not just letters to be read. NOTES (1) These are some of my fonts in which some of Lubalin’s influences can be seen (in order of creation): Reina, Aire, Erotica, String, Beatle, Heroe, Selfie, Model, Seventies, and many others that are still in progress. (2) (3) Steven Heller. Herb Lubalin: Rule Basher. U&lc (1998) http://www.printmag.com/imprint/my-favorite-lubalin/

Since their first appearance as Italians on the pages of the 1821 William Caslon type specimens, reverse contrast typefaces have been typography's best loved quirky outcasts. Subverting the traditional relationship between thick verticals and thin horizontals made them perfect for eye-catching advertisements. The unexpected contrasts and the thick slabs produced by reverse-contrast serifs became ubiquitous in period posters, and synonymous with wild west and circus iconography. In designing Stinger, the Zetafonts design team composed by Maria Chiara Fantini, Andrea Tartarelli and Francesco Canovaro and orchestrated by Cosimo Lorenzo Pancini decided to marry this subversive tradition with the workhorse approach of modernist sans serif typefaces like Univers, developing a super-family with four widths, each in five different weights, from thin to heavy. This gives the designer a full range of options for type setting, with the Normal and Fit widths providing two different text-sized alternatives, the wide width adding display and titling options and the Slim ready to deal with the space-saving necessities of extremely long texts. True italics have been added developed for all weights and variants, bringing the Stinger family to a total of 40 fonts, with a latin extended + Russian Cyrillic character set covering over 200 languages, and open type features including positional numbers, stylistic sets and alternate forms. In the crowded panorama of contemporary grotesque typefaces, all aiming to stark geometric perfection, Stinger stands out with its bold choices and strong personality. From the calligraphy-inspired terminals in the thin weights to the logo-ready sculptural approach in the heavy weights, each variant manages to look striking without forgetting the readability and flexibility lessons of modern reverse-contrast classics like those designed by Excoffon or Novarese. A variable version is included with the full family, allowing maximum flexibility and control for the designer over the wide range of expression capabilities of the Stinger super family.

Santika Script with 172+ glyphs. Alternative characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates. The Open Type feature can be accessed using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop version of Corel Draw X, and Microsoft Word. And this Font has provided PUA unicode (custom coded font). so that all alternative characters can be easily accessed in full by a craftsman or designer. Santika Script Santika Script Italic Happy Designing

Based on proofs of an early Remington typewriter font from the Keystone Type Foundry, circa 1905.

Hawksmoor is a digital font that preserves the worn and inky idiosyncrasies of old woodblock type.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to the methodical and engineered nature of its design. The FF DIN family breathes an atmosphere of versatility and authority, FF DIN Stencil follows the same design principles with extra flair. The bridges are arranged vertically, which usually replaces the thinnest parts of the strokes — offering depth in your headlines. Go loud and scale up, as the weights get heavier, the width of the bridges skillfully expand and contract, enabling FF DIN Stencil to provide confidence in volume, and in any chosen style. Also made available as a Variable font, creatives can design hyper specific variations to thrive in any design space, and even to animate movement from one state to the next. Get innovative with the entire FF DIN family, FF DIN Stencil’s spacing and kerning is identical to FF DIN, this enables swapping between any FF DIN font without changes in word length or line breaks. For true FF DIN fans, FF DIN Slab and FF DIN Stencil designed by Albert-Jan Pool, Antonia Cornelius and Achaz Reuss, can be seen as harmonious companions to the FF DIN family, rather than alternatives. Bestowed with its parents distinctive DNA, all the FF DIN extensions open up new possibility with their own unique qualities, but stay true to the FF DIN design philosophy of engineered precision.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to the methodical and engineered nature of its design. The FF DIN family breathes an atmosphere of versatility and authority, FF DIN Stencil follows the same design principles with extra flair. The bridges are arranged vertically, which usually replaces the thinnest parts of the strokes — offering depth in your headlines. Go loud and scale up, as the weights get heavier, the width of the bridges skillfully expand and contract, enabling FF DIN Stencil to provide confidence in volume, and in any chosen style. Also made available as a Variable font, creatives can design hyper specific variations to thrive in any design space, and even to animate movement from one state to the next. Get innovative with the entire FF DIN family, FF DIN Stencil’s spacing and kerning is identical to FF DIN, this enables swapping between any FF DIN font without changes in word length or line breaks. For true FF DIN fans, FF DIN Slab and FF DIN Stencil designed by Albert-Jan Pool, Antonia Cornelius and Achaz Reuss, can be seen as harmonious companions to the FF DIN family, rather than alternatives. Bestowed with its parents distinctive DNA, all the FF DIN extensions open up new possibility with their own unique qualities, but stay true to the FF DIN design philosophy of engineered precision.

Introduced by Timurtype Studio! Roasted Bailey is a Handwritten Script Font This font takes you into a world of timeless elegance and individuality with the charm of a charming handwritten font. In a digital landscape dominated by uniformity, these fonts stand as a testament to the timeless charm of the human touch and artistic expression. Each letter becomes a brushstroke, and each word a canvas of authenticity, imbuing your designs with a distinct personality that goes beyond the ordinary. Handwritten script fonts captivate with their unique rhythm, celebrating the fluidity of handwriting and the spontaneity of creative expression. More than just typography, they are a bridge between analog and digital, a poetic dance between tradition and modernity. the true warmth these fonts bring, elevate your projects to a world where every word becomes a heartfelt brushstroke in a design masterpiece Roasted Bailey Font also supports multilingualism. Enhance your designs with our original fonts, feel free to comment or provide feedback, Enjoy the fonts 😊 Thank You

Adolf Rusch von Ingweiler, was in the 19 th century known mysteriously as the “R'' printer. He was the first printer North of the Alps to introduce the new Roman style of type known now as Antiqua. He was active in the city of Strasbourg from around the early 1460's to 1489. One wonders if the unusual form of “R'' was a personal conceit. This font is, therefore, an Antiqua style font and has over a 1000 defined glyphs with wide support for medieval characters that have since fallen out of use. The baseline was slightly tidied up in order to give the printed text an even cleaner look than the original. The letters are very close approximations of the original type catalogued by the “Veröffentlichungen der Gesellschaft für Typenkunde des 15. Jahrhunderts” as Typ.1:103R GfT1197.

Garstang Engraved is the latest in Greater Albion's series of ‘wood type’ inspired fonts. Garstang Engraved is a hand-cut Roman, suggesting the late Victorian era, but the type of thing that continued in use well into the twentieth century. If you want a title face that has versatility and suggests a past history, as well as the art of finely cut wood type, then this is it!

Apparently original with the Lindsay brothers type foundry in New York shortly before they were merged into the American Type Founders Company. A few characters of the original font have been modified slightly to make them more harmonious with the rest of the alphabet.

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.

CHARACTERISTICS The dark and sharp character of the typeface is a very unique atmosphere. The letter-forms can with broken trees, rotten and old and branches are associated. The partially pointed edges remind thorns (bushes) a rose. APPLICATION AREA The edgy, contrasty horror and fantasy font »Viktors Littl Creepy Horror« would look good at display size for headlines in magazines or websites, movie posters, music covers or webbanner. TECHNICAL SPECIFICATIONS Headline Font / Display Font / Fancy Font »Viktors Littl Creepy Horror« OpenType Font with 354 glyphs - alternative letters and ligatures (with accents & €) & 1 style (regular)

Restou is handwritten font for children theme, playful event, wall type, your signature, or a poster. This font is for personal use.

HWT Brylski is a typeface by Nick Sherman, named for retired wood type cutter Norb Brylski and designed to be cut as wood type at the Hamilton Wood Type & Printing Museum. This font is the digital counterpart to the wood type made as part of the Hamilton Legacy Project . It incorporates several themes that were common in 19th-century type design, including split tuscan serifs with angled mansard-style sides, heavy weight placement at the top and bottom of letters (traditionally referred to as French or Italian/Italienne, regardless of any actual relation to those countries), and an extended overall width. This digital version contains over 400 glyphs for full European language coverage.