IT’S MAILBAG TIME! Dear Jolly JG Roshell and Rascally Richard Starkings, Comicraft Fonts are a thing of Beauty and a Joy Forever! You guys must be a Wild Bunch, and I roar with delight whenever a new comicbookfonts release appears in my emailbox. But I have to level with you daredevils...what about us Letterhacks? We need representation too! We haven’t spent years hammering away on our typewriters to be ignored! BRING BACK THE LETTER HACK! In fearless font form. You know it makes sense! Truly Yours, Forbush, Irving, senior. We give up! We can’t resist your appeals, threats and commands ANY LONGER!!! We may crack under the strain, but this month’s release IS two (count 'em) Letterhacks! That’s right, a pair of fantastic fonts that recreate the look and feel of your Marvelous Letters of the Sixties! It’s a Bullpen Bulletin! It’s an Iconoclastic Item!

Terafile, a sans serif family designed by Raúl Plancarte who was inspired by hi-tech aesthetics. It is made up of eight weight variants with their respective italic versions. Ideally it works to capture in a graphic way the universe related to technology, sci-fi, industry and similar topics. It is a mixed family, because the construction of certain letters (as in "a", "f", "z", "B", "P", among others) is enriched with different finishes in structure to gain differentiation and plasticity. In other words, it moves away from an entirely academic design. Another important line in the creative concept of this typeface is the function of its ink traps, which, in addition to fulfilling their primary function, serve to gain gestuality in its use. This font is capable of covering complex design needs by enabling association with specific themes, which makes it highly competitive in its graphic line.

"Welcome to the vibrant and bold world of typography!" Aprek Febux is a display typeface that adds sharpness, aggressiveness, and excitement to your projects. Aprek Febux, with its unequaled capacity to generate spectacular displays, is the ideal answer for your diverse variety of visual creations. Aprek Febux offers more than simply lovely letters. This font enables maximum versatility and creativity in every step of your design with excellent features such as ligature and alternate. You may quickly construct one-of-a-kind letter combinations to add a personal touch to your projects. We also recognize the significance of engaging with a worldwide audience. As a result, Aprek Febux supports numerous languages, guaranteeing that your communications are clearly received by everyone on the planet. Enhance your projects with the powerful visual appeal of Aprek Febux. Get this font right away and see how your every design becomes more impressive and stylish!

HUNKSTER is heypentype journey to simplified a stencil fonts. Simplified means it must easy and fast to cut when creating stencil art. Hence, this typeface inspired a lot from stencil arts and fonts right from the beginning of its creations. When a lot of stencil fonts out there used to create political message and self-expression, Hunkster take it beyond that. This typefaces can be applied to anything, from motorsports, branding, logo or logotype, industrial design, products packaging, software, games, website headlines,etc. Whatever it will be used, the spirit of the stencil and street art remains. Include in this typeface family is plenty of ligatures because the nature of stencil and our design aims, easy-to-cut but still beautiful. Most importantly its thrown away an image of stencil fonts bound on military themes. This ligatures will be developed in the future release along with updates on Hunkster variable fonts.

Welcome to Ciroya, a typeface universe full of passion and fun! Ciroya is the answer if you want a strong, bold, and vivid style for your projects. Ciroya is available in three different styles: regular, outline, and shadow. You can use this to create effects that suit your vision, such as colorful to lighter outlines or shadow effects. But wait, there's more! Ciroya also has a plethora of other ligatures and characters, allowing you to express your creativity and create genuinely unique and spectacular designs. Ciroya, of course, supports several languages, allowing you to engage with audiences worldwide. Make Ciroya your top choice for projects that require a playful, playful look. Let your message be combined with Ciroya's carefree touch and make an unforgettable impression. With Ciroya, every word becomes more vibrant and colorful. Explore your creative potential right away with this fun font!

Fans of Comicraft have made a lot of noise (HELP!) about the availability of ready-to-wear, factory surplus sound effects, not unlike those made available over a decade ago in our extremely popular and raucous ZAP PACK. It may sound impossible (WHA--?!), but Comicraft's Sonic Specialist, John JG Roshell, locked himself away (CLIK) in our top-secret SFX lab forming Onomatopoeia at high speeds (FWOOSH) and extreme temperatures (BBRRR), and sounded out over One Hundred (GASP) of the loudest (BTOOM), most intense (UNNGHH), squawkiest (KRAKK), discordant (SPLANGG), dissonant (SQUTCH) -- as well as dulcet and restrained (THWIPP) -- sound effects ever conceived (WOO HOO!) Helpfully arranged in alphabetical order (YIPPEE!), this Library of Onomatopeia -- the ONOMATOPEDIA, if you will (DING) -- is now available for use by the general public. WARNING: Comicraft Sound Effects may explode on contact with skin (AAAH!); please use protective clothing and eyewear when handling the Onomatopedia.

Addictive font duo is a sophisticated & contemporary, hand-made script font. With personal charms and character. allow you to create flowing hand-lettering.Addictive fonts are designed to be a winning combination. this font will perfect for many different project, Designed to feel comfortable with variety projects including advertising, campaigns, poster design, wedding, branding, logo, fashion, magazines, social media. Here is what you get in the Addictive package: 1. Addictive • A hand-made High quality script font containing upper & lowercase characters, numerals and a large range of punctuation + OpenType features (Ligatures&Alternates). 2. Addictive Caps • A bold hand-made brush font containing upper & lowercase characters, numerals and a large range of punctuation. Creates a perfect pairing contrast with the Addictive Script Both fonts Include multilingual support: English, Italian, French, Polish, German, Swedish, Spanish, Danish, Dutch, Portuguese, Norwegian, Malaya, Indonesian, Finnish, Filipino. Malaya. TTF and OTF files are included for both fonts. Access all OpenType features alternates&Ligatures, you need a program that supports OpenType features such as Adobe Illustrator, Adobe Photoshop, Microsoft word and Etc.. Thanks for looking If you have any questions about license or anything else,feel free to leave a comment or send me a message. I'm always more than happy to help:) hope you enjoy! Michael

Frogurt is a soft, plump, rounded slab serif font full of fun! Its fat curves make me think of frozen yogurt, and I've always preferred the shorthand "frogurt" to "fro-yo." I was inspired by a 30-year-old hand-carved wooden sign; when I went to try to find a font with a similar look, I couldn't really find anything soft and funky enough! It was a real Goldilocks situation: that one was too thin, that one's corners were too sharp, that one's baseline was too strict. So since I couldn't find something I liked, I made something I liked! I gave Frogurt big pillowy slab serifs, a slightly irregular baseline, and just enough tilt and variation to be fun while still keeping things really clean and readable. The outlines are cleaned up and sharp, so Frogurt will work well for both printing and cutting. Frogurt clocks in with just over 570 glyphs total, including all of the basics (A-Z, a-z, 0-9, and a ton of punctuation), plus over 310 extended Latin characters for language support, and over 50 alternates and ligatures to add some variety and flair. Frogurt is PUA-encoded for easy access to all characters.

ARTA is an ArtDeco style font, inspired by classic font like Newport Classic with elongated typeface with high waisted uppercase letters which curve in an geometric and elegant way. It consisted of really condensed lettering which had little space available. It's a well complet font with 315 Glyphs for most latin languages as "English, French, Spanish, German, Icelandic, Afrikaans, Catalan, Czech, Esperanto, Hungarian, Latin, Latvian, Lithuanian, Maltese, Northern Sami, Polish, Serbo-Croatian, Slovak, Slovene, Sorbian, Turkish and Welsh". ARTA will give to your design an chic presentation, you will be able to generate beautiful writings,thanks to 3 differents type "Light, Regular & Bold". It can be used for Shop, Restaurant, Jewelry, Cosmetic, Press identity & more. I started to work on this typeface at the creation of a logo in 2017 for the butcher shop of my uncle in Luchon in France named "Le Louchébem". I always had in mind to complete & share it. So after some years, I decided that it was time to finish it. This was my first Typography creation and I wanted to make it as an Art Deco typeface. I really love this elegant, high & classy lettering style. I want to bring this 1910's vibes back to be more use in our days.

This typeface finds a perfect balance between technical excellence, careful design of letter forms for extended reading, and a measured dose of charm and personality. Its informal feel allows for successfully typesetting a wide range of applications, from magazines and fiction books to advertising and websites. Calligraphy, be it done with the broad-edge pen, brush, or other tools, has been fundamental in the development of Pollen. Its influence is clearly visible in the construction of the top serifs contrasting the curved bottom serifs and the fluid aspect of terminals and tails, such as on “g” and “r”. The shapes of the diagonal letters are based on a less formal calligraphic model, but still uses the broad edge pen. ­The letters were then subject to a further process of pencil drawing and digital re-interpretation, which gave them the final shape. The designs of “e” and “c” are derived from drawings made with only one continuous line, with the pencil always touching the paper. The letters “g” and “y” express the intention to bring informal elements to a typeface intended for long text reading, usually characteristic of casual writing. Pollen consists of 3 basic styles with an extended OpenType Pro character set and large language support, perfectly serving the most common typographic needs.

Very Matcha is a hand-drawn, chunky serif font with fun retro flair. Think 70s disco meets Hawaiian luau. Whether for branding, advertising, or merch, all who see it like it very matcha! 😉 It has uppercase and lowercase alphabets, dozens of beautiful ligatures and dingbats, and includes support for Modern Greek. Very Matcha has over 500 glyphs in Latin and Greek consisting of: the complete Latin alphabet (with all accent marks), the complete Modern Greek alphabet, 30 ligatures and stylistic alternates, 24 fun dingbats and arrows, numerals and math symbols, extensive punctuation and diacritical markings. The OpenType ligatures are the fun part. To get the most out of Very Matcha, use software that supports Open Type fonts (Adobe programs, Corel Draw, Affinity Designer, etc). This type family has tons of built-in OpenType ligatures and alternates, which are what make it so customizable and decorative. You can always access the ligatures, alternates, and dingbats through your software's glyphs panel. For a complete preview of all the ligatures, please look at the 4th image in this product listing. Languages Very Matcha includes the Latin and Greek alphabets with all accent markings. The most common languages it supports are: English, Catalan, Danish, Dutch, French, German, Greek, Italian, Norwegian, Portuguese, Spanish, and Swedish.

Artisinal, not to be confused with the term artisanal, is our revival of the Art Deco typeface known as Cubist Bold, by John W. Zimmerman for Barnhardt Bros. & Spindler in 1929, breathes new life into a classic. The original metal cast typeface was designed without a lowercase, as well as some wedge serif capitals made for not always perfect pairings. We've created a lowercase that blends well with the original design to give the typeface more usability. We've also created a fully sans version of the capitals as the default set, and moved the original wedge serif capital styles to a contextual alternates feature. And we created a few stylistic alternates for lowercase characters like the u and y and their accented styles. See the 5th graphic for a comprehensive character map preview. Opentype features include: - Full set of Inferiors and Superiors for limitless fractions. - A Standard lining figure set. - A collection of basic f Ligatures. - Stylistic Alternates for variations of several characters such as u and y. - Contextual Alternates for the original wedge variations of capitals that will mix in where appropriate. Approx. 450 Character Glyph Set: Artisinal comes with a glyph set that includes standard & punctuation, international language support, and additional features

The dearJoe series of fonts had it’s origin somewhere around 1999, the year I created dearJoe 1, which was a first (and half-assed) attempt at converting my own handwriting into a working font. Being able to type in my own handwriting had always been a childhood fantasy, and even though I only partly understood the software, a working font was generated and I decided to put it on the internet for people to use. And that’s what they did: at this moment the dearJoe 1 font has been downloaded millions of times and can be found on just about anything, ranging from Vietnamese riksjas, a Tasmanian gym to a fancy chocolate store on 5th Avenue. The font is not something I am particularly proud of, but it started me of in building what later became the JOEBOB graphics font foundry. Inbetween creating other fonts, the dearJoe series has become a theme I revisit every once in a while, trying to create an update on how my handwriting evolved, along with my abilities in creating fonts that mimic actual handwriting. In the last decade or so I started implementing ligatures and alternate characters, which helped a lot in making something that can almost pass for actual handwriting.

I have made this font properly monospaced (all characters are the same width) as that is how an old typewriter worked. In addition to correcting and expanding the character set, of course. Keving King says: "Kingthings Trypewriter is a deconstructed typewriter face. I have always loved decayed fonts, this is the first of mine - and yes, I know there are lots of these around - this one is MINE". 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.

Bombora evolved over years of designs in the world of surfing. The native name is given to massive surf building up over a reef, often dangerous, always spectacular. The font was expertly digitized by Brian Kent in New York. This font lives on the beach in a Polynesian grass hut and goes out for a surf before breakfast (o: 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.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Times New Roman World Version is an extension of the original Times New Roman with several other scripts like with the Helvetica World fonts. It is part of the Windows Vista system. The following code pages are supported:1250 Latin 2: Eastern European 1251 Cyrillic 1253 Greek 1254 Turkish 1255 Hebrew 1256 Arabic Note: The Roman and Bold versions include the arabic scripts but they are not part in the corresponding italic versions. 1257 Windows Baltic 1258 Windows Vietnamese

Frutiger® Serif is a re-envisioning of Meridien,a typeface first released by Deberny & Peignot during the 1950s. Working closely with Adrian Frutiger, Linotype's Type Director Akira Kobayashi expanded the original metal type version of Meridien into a new digital family of 20 variants. Renamed Frutiger Serif, this up-to-date Meridien has new weights, widths, and styles that correspond better with several other of Frutiger's designs. Just as Meridien has always been a fine choice for text settings, Frutiger Serif works brilliantly for large amounts of text & also at small point sizes. With its many weights and styles, this family is strong enough for most typographic projects. However, its added versatility is revealed when used in combination with other fonts. Frutiger Serif works well with the original Frutiger, Frutiger Next, and Univers - just to name a few. Paring these serif and sans serif families together is perfect for creating complex hierarchies and clear information design. Working with complicated typographic systems - involving elements such as headlines, captions, pull quotes, multilingual text, etc - is made easy by selecting Frutiger Serif and another of Frutiger's sans serif families. The designer needs simply to mix and match different weights and styles for the various textual elements to create smart and innovative layouts.

Mr Orange is a typeface based on our handwritten letters which we used in some of our books H.O.U.S.E, D.E.S.I.G.N and Who Eats Whom. It has up to three alternate glyphs for each character, even for every diacritic letter. We do use our fonts in our books so we know that switching alternate glyphs can be a pain in the ass. Thats why we’ve created a very cool Contextual Alternates feature. It automatically sets alternate glyphs depending on frequency of appearance of the same character. The script doesn’t throw random glyphs. It’s checks if lets say letter “A” appears more then once in a sequence of characters. For example in the word “ANAKONDA”, the third “A” and the second “N” would be changed to glyphs from first stylistic set, the second “A” would also be changed but to glyph from second stylistic set. We’ve designed different rules for basic characters and different for diacritics and punctation. It really works great but of course you can always fine tune it by hand. This option has one obvious advantage for web fonts. Browsers that support OpenType calt feature will be able to display alternate characters. And since you can’t put by hand alternate glyphs on your website this is the only way to use them.

Delightful is a whimsical and cheerful handwritten font family of varying weights and widths. This typeface is like if Comic Sans had a cousin who studied abroad one summer and now wears scarves to look more grown up, even though inside she's still the same, sweet marshmallow she always was. The letters were inspired by my handwriting on a good day - slowed down, legible, and intentionally drawn. I even threw in some of my favorite doodles as alt characters because the set wouldn't be complete without them. And the name was inspired purely by how it feels when I see it - and by my word of the year, delight. Delightful is ideal for anyone who wants to include a bit more warmth and a personal touch with their messaging. It's friendly and non-threatening, and will enhance personal projects or professional ones alike - whether you're a designer, an Instagram influencer, or you need to create some flyers for the local Mom 'n Pop Shop. There are two versions of this font. The original style is slightly more rounded and gets chubbier as you increase its boldness, and the stretched style is like a condensed version, except it's been stretched taller rather than squished narrower. I hope you delight in it as much as I do!

Introducing The Clover, a stunning duo font that combines the timeless elegance of a serif typeface with the fluid grace of calligraphy. This versatile font set includes two complementary styles that work together seamlessly to add sophistication and charm to your design projects. The serif font is a classic and refined typeface that exudes elegance and professionalism. Its clean lines and sharp angles create a sense of precision and authority, making it perfect for formal documents, headlines, and branding materials. In contrast, the calligraphy font is a more decorative and ornate style that evokes a sense of fluidity and movement. Its graceful curves and flowing lines create a sense of beauty and grace, making it ideal for invitations, wedding materials, and other special occasions. When used together, the serif and calligraphy fonts complement each other perfectly to create a stunning visual contrast that captures attention and creates a lasting impression. Whether you're designing a logo, brochure, or wedding invitation, The Clover is the perfect choice for adding a touch of sophistication and style. I really hope you enjoy it – please do let me know what you think, comments & likes are always hugely welcomed and appreciated. More importantly, please don’t hesitate to drop me a message if you have any issues or queries. Thank you

Philip Bouwsma’s offbeat mind, always working in mysterious ways, brings us one of the unlikeliest syntheses of historical influences in a perfectly fluid, organic, and highly expressive connected script. Tupelo takes its inspirational roots from the handwritings of two of the most influential men in world history: Elvis Presley and Abraham Lincoln. It took a little research and analysis on Bouwsma’s part to reveal that The King’s and Honest Abe’s methods of writing shared a common ancestor: a writing system they had both learned as youths during their early school years. While Tupelo’s lowercase maintains the slant, color, texture, and flourish of Elvis’s handwriting, its uppercase is the embodiment of Lincoln’s well-versed originality. This is the closest a typeface has ever come, in its timeliness and historic relevance, to making a statement about these modern days' fusion of politics and popular culture. Tupelo comes in two main fonts, plus a set of beginning lowercase, a set of ending lowercase, and plenty of alternates and extras. The non-Pro set consists of five fonts, while Tupelo Pro combines the lot in a single font of over 840 characters, which includes programming for push-button swash caps, stylistic alternates, oldstyle figures, beginning and ending letters. Elvis and Abe would be proud!

Carbona is our attempt to imagine the future through typography. The perspective of the future is, perhaps, the greatest force of action humans have. Knowing that there will be a tomorrow is the stimulus we depend on to decide how we are going to act today. This idea is also one of the best fuels for creativity. That's why we thought of Carbona as a typeface in sync with everything that appears on our technological future. From the countless births of new digital currencies to the sending of ultra complex algorithms at 5G speed, the future of any habit, choice or task that we will perform will transit through some super computer located somewhere very far away – who knows even on another planet. The family is designed to deal with the situations of the digital world, today and what is yet to come. It is optimized for programming, contains cryptocurrency symbols, advanced features for use in interfaces, and much more.

The Lindraki Groovy font is a very geometric and crooked font with high contrast between thin and bold lines and shapes. This font has an elegant and distinct style that makes it visually different from many other fonts. It makes your design stand out from the rest. This font will give a unique touch to your design. Never put off using this cool font, as it will help you give extra zest to all kinds of work. This fun font has precisely defined Curves and the subtle strokes of the typeface make this font very pleasing to the eye. So what are you waiting for? Stop procrastinating and incorporate it into your designs right away! What’s Included : Standard glyphs Iso Latin 1 Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Choosing fonts for design projects can be an endless task to do because there’s thousands of fonts out there all that you could use. Wait no more, we will give you the best choice. Reverse Vintage-A Display Font The Reverse Vintage aims to bring out a modern and stylish view. This font is made specifically designed to fit a variety of different content needs and projects. Everything’s well with cursive! The curvature of the Reverse Vintage was fully thought out to easily meld inside your designs. These fonts make a good foundation of what you want it to be. Show your opulence and decadence with this fancy font and blow your audience’s mind away as you put these cursive letters in your projects. Reverse Vintage includes Multilingual Support to make your branding reach a global audience. Features: Ligature Stylistic Alternates Swashes PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Welcome aboard the Hyperspace Race Capsule! Let the weight of gravity slip away as our interplanetary transport system takes you around the solar system in unparallelled style and comfort. Our reclaimed UFO has been remodeled with soft, luxurious curves on the interior and the latest cutting edge flight technology under the hood, to meet all your typographic travel desires. Each weight and package includes these luxurious five-star amenities: Kick your Capsule into TURBO mode to access eleven sleek, fast-moving alternate letter shapes. Hit WARP SPEED to cross time and space with hundreds of auto-connecting letter pairs. Chat with passengers from all over Earth, as Hyperspace Race Capsule effortlessly presents speech in 224 languages. Use the versatile Variable font to access 20 preset weights plus over 100,000 options between. Hyperspace Race Capsule is a versatile, full-featured font that's perfect for galaxy-wide branding projects, now and into the future.

Silent Noise has two font types, namely serif and handwritten script with a thin size, adding to the impression of elegance and class, both of these fonts have a subtle touch Silent Noise is versatile enough to add an elegant element to almost any project that requires a special touch of class.,perfect for casual type on greeting cards, illustrations, quotes, old branding, cover books, social media posts, packaging and many others :) Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded WHAT'S INCLUDED Silent Noise Serif Silent Noise Script Once you download this romantic, handwritten font duo you will be able to start creating straight away. Enjoy! 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. This type of family has become the work of true love, making it as easy and fun as possible. I really hope you enjoy it! Thak you.

Bonkard is a font created with great care to meet all of your requirements. Your project will be more flawless if you use this font; everyone will think it’s attractive and charming. We completed this font with standard and thick-thin families, so you may use it for subtitles and text titles because we made it with ease and flexibility in mind for you to use in all types of special projects. Not only that, but the unique shape of each letter is something we pay close attention to so that your customers fall in love at first sight. This graffiti font is great for product logos, poster titles, headlines, packaging, film titles, logotypes, gorgeous writing, and trendy graffiti designs, among other things. Of course, if you utilize this font in your numerous creative projects, they will be perfect and outstanding. Use this typeface right away for your one-of-a-kind and remarkable projects.

No frills. No fluff. Still friendly. Keep your look clean and simple with the utilitarian but gentle Ultine. This font with a slightly extended geometric architecture gets straight to the point without pushing your reader away with too firm an approach. Ultine covers a large set of multi-Latin languages. It includes a wide range of other OpenType features, too, including ligatures and contextual alternates. Moreover, small caps of Utline and titling alternates are available for deepening your design capabilities with this basic face. The Ultine family consists of 42 fonts with three different widths and italics counterparts for every style. The design is well suited for graphic design and any use of the screen. It can easily operate as a webfont, as text for banner ads and for branding as well as editorial design. And just to show you how simple and friendly the font can be, the regular weight is free, so you can use it to your heart's content.

Do we have a volunteer from the audience! Yes, you young lady, step into the ring, there's no need to be afraid! What's your name? Hypnotique? How appropriate! Now, don't turn away, look into my eyes, look into my eyes, the eyes, the eyes, not around the eyes, don't look around my eyes, look into my eyes, aaaannnndd you're under. And on the menu of mesmerism tonight is a waking dream of letterforms that will keep you on the threshold of consciousness and yet illuminate your every hypnagogic hallucination! Now that we have your focused attention and reduced your peripheral awareness you have an enhanced capacity for response to the suggestion that you should not only purchase this font, but our entire library of fonts. On the count of three you will wake up and you will think of nothing else but acquiring all the tools all good graphic designers should have in their font library. And all we had to do was snap our fingers.

VLNL Boulangerie was originally an incomplete set of early 20th century wood type letters, that Donald Roos found in a dust covered carton box stashed away somewhere at the Royal Academy in The Hague. Charmed by the letter forms Donald decided to print them on paper with a printing press. Next he digitised the prints as they came out, including small imperfections and damages. The missing characters were composed and added digitally to complete the alphabet. (See if you can spot those!?) We think VLNL Boulangerie is a little French in appearance (hence the name), it's joyful, warm, a little crunchy and round-ish. It defenitely has that ‘je-ne-sais-quoi’ that seperates it from most wood type grotesques. It can be perfect for lettering on a storefront window of – let's say a bread shop or a lunchroom. Or a logo for a downtown hipster café. VLNL Boulangerie hardly has any limitations actually.

Marcione is the real deal, a contemporary and dynamic condensed display font family that blends the classic Deco and Grotesk styles in a playful and modern way. This font family got personality, you can see it right away in the lowercase letters, with a diagonal stem in characters like “a”, “h”, “m”, and “n” that gives it that extra kick. You can use Marcione to create some killer designs in editorial, branding, or advertising. This font family packs a punch with six distinct styles, ranging from Light to ExtraBold, and it’s got you covered with broad Latin language support. That means no matter where you’re from, Marcione can help you make a statement. This font is highly versatile and visually engaging, a true boss. With its condensed design, it takes up minimal space while still commanding attention and conveying a sense of sophistication. Trust me, you won’t regret having Marcione in your font library, it’s the real deal.

Drop_it is a redesign of fonts originally created to be recognized by computers using OCR (optical character recognition) softwares. Strangely, human beings fell in love for the stylistic inconsistencies of these fonts made for machines. In small sizes, Drop_it emulates the appearance of fonts in antique operational systems monitors. In large sizes, its structure is composed of capsules and pills allude the universe of medicines, drugs and rave culture. Drop_it Dingbats follow the the same grid of its alphabetic version, and can be used side by side in sign projects. Besides the traditional symbols, it present specific images from the rave culture like DJ (Disc-Jockey) and VJ (Visual-Jockey). Drop_it italic set adds velocity to text compositions using six angle variations. All the fun starts with a very unusual Break version. Fall version is a kind of "anti-italic". Slow version put your text in another rhythm. Swing have a little italic emphasis. Italic is, you know, italic. And Speed version run away.

Looking for a font that’ll make your branding radiate elegance? Something that’s versatile, stylish, and eternal? Introducing Cananga - A Modern Calligraphy Font. This handcrafted calligraphy font can be used for various different promotions or projects. Use it to create standout headings, promote your online sales, Instagram quotes, and even printed materials like business cards, t-shirts, or invitations. Get whisked away to the Victorian era with Cananga. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Summer has come! Boho girl is going on her beach vacation. Relaxed, spontaneous, feminine, irreverent, though. Like a girl with a Gipsy soul, she just grabs her Bikini and turns away! This is the new font duo by the couple Coto and Luciano. Bikini includes a sans version, based on the proportion and structure of Roman capitals, but with a contemporary flavor and a clean style that give the typeface a chic touch. The other version of this font duo is a modern calligraphy script of handmade style. The mix is just perfect: opposites attract creating a very interesting counterpoint. Can you guess who is the designer behind each style? This font duo is intended to be used for posters, labelling or branding. The sans and script styles add visual hierarchy when composing text. Feel the fresh free spirit of its OpenType features and ornaments! Please see User Guide Every season is Bikini season!

A hand-made retro script font duo inspired by 80s action movies! This hand-made, retro styled script font was born from a childhood watching countless 80s action movies. Stories of inspirational heroism and competition, all set against impossibly beautiful Summer sunsets. And no self-respecting 80s movie would be without the coolest title design, setting the stage with a seemingly spontaneous glide of the designer’s brush. Endless Sunrise aims to capture this spirit through it’s loose, hand-drawn design and complimentary sans-serif. It comes with a complete set of alternatives and underlines for true customisation, meaning you’ll never have to repeat an E or an I; the tale-tell signs that give away other script fonts. It also features uppercase and lowercase characters, along with numerals, punctuation and language support. An awesome font that will work equally well across film, sports, music, merch and more! Find more from The Video Store Collection at Wingsart Studio

Before ink jet and laser printers; before copy machines, the main way to make multiples of anything not provided by printing press was by a mimeograph machine or spirit duplicator. The mimeograph utilized a porous drum which inked the backside of a waxed stencil sheet. Unlike traditional stencils which have cut out areas that are directly inked or painted, a mimeo stencil has the area to be printed scratched away by removing the wax coating with a stylus. The resulting image allows the ink from the drum to seep through the sheet and transfer to the blank paper. Based on a plastic lettering guide once manufactured by the A.B. Dick Company of Chicago, Mimeograph Template JNL is available in regular and oblique versions. Albert Blake Dick, the company’s founder, coined the term ‘mimeography’. The font’s character shapes follow the routed letters of the template, complete with rounded terminals. An earlier font release [designed with flat terminals and some alternate characters] is available as Interoffice Memo JNL.

Armature Neue is an extension and clarification of the original Armature family released in 1997. We made the distribution of weights more even, and added italics extra light and black weights. Originally consisting of four fonts, Armature Neue has twelve: six weights with accompanying italics. Although conceived as a display face, a number of alternate characters are included that can be used to regularize the type for text setting. Armature is one result of my interest in typefaces that are constructed, rather than drawn. Although it is basically a monoline design, there are subtle details throughout that compensate for a monoline’s evenness. As with all fontBoy fonts, there are dingbats hidden away in the dark recesses of the keyboard. When I first started designing this face in 1992, I called it Dino-I thought I would name all my fonts after famous pets-so the dingbats for Armature are dinosaurs. Designed by Bob Aufuldish with editing and production by Psy/Ops.

Download Fieldwork’s PDF Type Specimen Fieldwork brings back the manual tradition of typography production, veering away from lab interpolations. Each of its 24 variants was drawn based on optical evaluation; many of its curves and details were specifically adjusted for each weight, reformulating them to better suit the requirements of the distinct stroke weighs. It is the product of a collaborative effort by the TipoType team, combining their personal strengths and “most importantly” their enriching individual outlooks to achieve a more versatile and fresh outcome. Its shapes successfully combine geometric strokes (in the Geo variants) with the humanistic warmth of the double-storey glyphs (like a and g in the Hum variant) in a system that grows with alternates, swashes and the corresponding italics for every weight. It includes a very thorough coverage for a wide variety of Latin alphabet-based language families. Special thanks to: • José “Pollo” Perdomo: Font production assistent. • Rasmus Jappe Kristiansen: Detroit City project

Senohraby is an uppercase display typeface inspired by the old sign at Senohraby train station that is now slowly chipping away. Senohraby is available in three interconnected styles that freely various ages of the sign. “Paint” is a more or less preserved font written with a flat brush and featuring slight scratches and errors. The other styles, “Dirt” and “Trash”, follow up on this style and are increasingly marked by age, damage and erosion... In each style one can use simple alternation with lowercase letters, context-based alternation to eliminate repetition of adjacent characters, and a broad range of language support. As a result, each letter offers six variations that can be combined. These can be used as another alternation within a single word or as different bold weights. As a bonus, a fourth, additional style named “Crap” is freely available and as the name implies, it contains a wide array of various impurities.

A very expanded sans serif font in capital letters inspired by the inscription on a bank note Old bank notes tend to have a very typical typography. Usually they carry decorative and elaborately designed markings. For one thing, they must be practically impossible to forge and for another, they should make a respectable and legitimate impression. And in the days of copper and steel engravings, that meant nothing less than creating ornate, shaded or otherwise complicated scripts. Designing the appropriate script was literally in the hands of the engraver. That’s why I noticed this bank note from 1948. It is the first 20 mark bill in the then newly created currency ”Deutsche Mark.“ All other bank notes of the 1948 series show daintier forms of typography with an obvious tendency toward modern face. The 1949 series which followed shortly thereafter reveals the more complicated script as well. For whatever reason, only this 20 mark bill displays this extremely expanded sans serif variation of the otherwise Roman form applied. This peculiarity led me in the year 2010 to create a complete font from the single word ”Banknote.“ Back to those days in the 40’s, the initial edition of DM bank notes was carried out by a special US-American printer who was under pressure of completing on time and whose engravers not only engraved but also designed. So that’s why the bank notes resemble dollars and don’t even look like European currency. That also explains some of the uniquely designed characters when looked at in detail. Especially the almost serif type form on the letters C, G, S and Z, but also L and T owe their look to the ”American touch.“ The ingoFont Banknote 1948 comprises all characters of the Latin typeface according to ISO 8859 for all European languages including Turkish and Baltic languages. In order to maintain the character of the original, the ”creation“ of lower case letters was waived. This factor doesn’t contribute to legibility, but this kind of type is not intended for long texts anyway; rather, it unfolds its entire attraction when used as a display font, for example on posters. Banknote 1948 is also very suitable for distortion and other alien techniques, without too much harm being done to the characteristic forms. With Banknote 1948 ingoFonts discloses a font like scripts which were used in advertising of the 1940’s and 50’s and were popular around the world. But even today the use of this kind of font can be expedient, especially considering how Banknote 1948, for its time of origin, impresses with amazingly modern detail.