David Quay designed Bordeaux to exhibit characteristics common in the typefaces of the Romantic era, the period which produced the novels of Victor Hugo, the music of Berlioz and the fairy tales of Hans Christian Andersen. Bordeaux displays the emotive quality one associates with the times. The font is intended for titles and headlines and combines well with Syntax for the body of the text.

In the middle of 18th century Leibniz Fraktur appeared in German print shops. This blackletter font with its great x-height preserved the then fashioned trunk in many of its uppercase letters. It was a cast font of Genzsch & Heyse, Hamburg. Leibniz Fraktur contains a bunch of useful ligatures, and by typing 'N', 'o' and period plus activating the Ordinals feature you get an oldstyle number-sign.

Hoyer Script™ is a fresh redesign of Hans Hoyer’s Schoenschrift, a slender vintage italic with a calligraphic touch. This font should be used like my blackletter fonts. It means that the s-key is occupied by the long s, and the round s lies on the #-key. By typing N, o, and period plus activating Ordinals feature you will get an old-style number sign.

Kelyon is a sophisticated and modern serif, inspired by the late Middle Ages and early renaissance period. Kelyon was designed with a very thin hairline and long serifs, this reflects the charm and feel of the 14th century. With over 60 stylistic ligatures, Kelyon is great for headlines and short to medium texts. Kelyon is compatible with 93 languages and contains 439 glyphs, including several alternatives.

Ambergate is a new typeface family redolent of the late 19th and early 20th centuries. It’s a display family of four small capitals roman faces, incised and elaborated with filigree scrollwork. The four typefaces which comprise the family recapture the elegance of traditional flourished sign writing and make and provide ideal lettering for period inspired design work such as posters, signage and book covers.

This font provides a typical set of characters for the ancient Nabataean language, used in what is now Jordan and adjoining regions during the period of the Roman Empire, based on lapidary letter-forms of the first century of the present era. It includes a full set of alphabetic characters as well as the ancient numeral forms, with ligatures and variant shapes for some numerals.

Bernhard Blackletter can be compared to a tuba, adding its deep bass sound to the orchestra of blackletter fonts. This font contains a bunch of useful ligatures, and to access all, it is recommended to activate both Standard and Discretionary Ligatures. You find the round s on the # key, and typing the combination N-o-period and activating the OT feature Ordinals gets you the numero sign.

In 1894, Linn Boyd Benton finished a commission for a new text typeface with the American periodical, Century magazine. Century is typical of the neorenaissance movement in typography at the end of the 19th century. Morris Fuller Benton drew a number of versions of the font for the font foundry, American Typefounders, and Century was later taken up by the firms Linotype, Intertype and Monotype.

PUBLIC SERVICE ANNOUNCEMENT: Price Didone has inspired a full alphabetic font - Mastadoni, so if you're after more than numerals, head over there! Price Didone is a font with a singular purpose: The setting of elegant, stylish price tags. As such it is non-alphabetic, featuring instead numerals, a large array of currency symbols, and a smattering of typographic niceties such as quotes, brackets, pilcrow, daggers and a very curvaceous ampersand. Certain currency symbols that are not independent glyphs (Q, Ft, kr etc.) are included as their constituent letters, some of which also have automatic ligatures for that little something extra. There are currency symbols included which have not (yet) been accepted to unicode, such as the Russian Ruble and Bitcoin symbols. For ease of access, these can be typed using the standard ligatures feature. See features below for the full list. Features: Automatic Fractions - with fractions feature engaged, arbitrary fractions are a doddle. Stylistic Sets: SS01 - an alternate look for 4 SS02 - a double stroked dollar symbol SS03- the # sign becomes a stylish numero Stylistic Alternates - for software that doesn't support stylistic sets, the above three features are grouped into the one SALT feature. Standard Ligatures - certain typed combinations automatically change to different glyphs: B|| = Bitcoin symbol P- = Russian Ruble RM = Malaysian Rimgit symbol Rp = Indonesian Rupiah Rs = Rupees Ft = Hungarian Forint kr = Kroner symbol % off;%off;%ff = Special percent off ligature Discretionary Ligatures - this feature sets decimal prices like $5.95 with the numerals after the period smaller and raised from the baseline, underlined by a nice swoosh. It also shrinks the dollar, sterling, and Euro symbols for a more authentic look. While intended for one sole purpose, Price Didone could nevertheless be quite versatile. Quote marks and typographic symbols can be used for decoration. Everybody loves a nice ampersand and this is one I'm really proud of. Or you might just want some pretty numbers for your house, or sports jersey, or just to stand out a little from the rest of your text. Whatever use you may have in mind, go for it. And do let me know if your currency symbol isn't included, and I'll quickly add it to the glyph set in future versions.

Usually fonts that are related to computers, space, future are not handmade, but rather digital made. Autoray is 100% handmade, and I am not sure which category it fits in. It has this futuristic and intergalactic look, but at the same time the handmade details are pointing in a more grafitti and comic way. I will let you decide where to go with Autoray! I have added 5 different versions of each letter, and they automatically changes as you type - and of course, there's multilingual support - and even intergalactic gravity! :)

Sign Helpers JNL is a collection of silhouette images carefully redrawn from two distinct sources. Prior to their bankruptcy in 1984, the Holes-Webway Company of St. Cloud, MN produced thousands of their "Webway" sign kits that were utilized by merchants, libraries and schools throughout the country. At one point they included in their sales catalog a selection of die-cut images for embellishing sign work. In the late 50s and throughout the 60s, the Joseph Struhl Company (now known as Magic Master Industries) produced cling vinyl sign kits for business, and a home movie titling set for do-it-yourself film makers. This set also featured die-cut embellishments. A generous selection of designs from both kits have been faithfully re-drawn in digital form to pay tribute to two innovative companies. Other fonts based on products from these companies are Sign Kit JNL (Webway® Sign Kit), Cling Vinyl JNL, and Sign Maker JNL (Magic Master® Sign Kits). Trademarked names are used purely for reference purposes.

Bernhardt Standard, which was designed in 2003 by Julius de Goede, is a flowing Bastarde script. Bastarde is one of the sub-categories of Blackletter typefaces. The term Blackletter refers to typefaces that have evolved out of Northern Europe’s medieval manuscript tradition. Often called gothic, or Old English, these letters are identifiable by the traces of the wide-nibbed pen stroke within their forms. Of all of the various sorts of Blackletter styles, Bastarde scripts are the most flowing, or Italic. The first Bastarde typefaces, cut in the late 1400s, were based on French handwriting styles, especially those styles popular in Burgundy. The flowing nature of Bernhardt Standard makes it similar to some other sorts of Blackletter typefaces as well. Bernhardt Standard, because of its handwritten roots, is also similar to Kurrent, a style of handwriting that was popular in Germany prior the 20th Century. Bernhardt Standard is a very calligraphic face, suitable for formal applications. This typeface would be an excellent choice for certificates or awards. The old style figures in the font allow for nice short settings of text as well.

Crafting Island. You are right!! This font that is intended for the crafting world (not only island). This is a cute, happy, sweet font that is suitable for any theme or seasonal use. It can enhance your crafting products for a better look. It comes with some alternate glyph that are accessible via All Alternate (easy access by using Adobe Illustrator or Photoshop). It is suitable for Logo, Cards, Branding, Social Media, YouTube Thumbnail, Advertisement, Posters, any many others. Features: - Standard Characters (Uppercase and Lowercase) - Numerals - Punctuation - International Characters - Ligatures - Alternate Characters Extras: - Crafting Island Paintbrush Style - Crafting Island Flower Style Disclaimer: Clips arts shown in the posters/images are not included. It is for promotional purpose. Enjoy designing and stay safe! Tigadestd

Sansmatica is a clean and modern sans serif typeface. It has 28 fonts that work as a multi-purpose design solution. It consists of regular and condensed fonts that can be used for different cases: regular fonts are perfect for copy while Sansmatica condensed fonts are more specific - they make emotional associations and are perfect when you want your headlines or advertising to be noticeable. Also suite great for greeting cards, posters, branding, name card, stationary, design title, blog header, art quote, typography. Sansmatica has 7 weights with light looking more modern, fashionable and the bold giving a more rugged impression is perfect for headlines, logos, quotes, and more! It is interesting to use bold condensed fonts – both vertical lines and weight draw attention.

Little Paws. Are you team Cat or team Dog? Doesn't matter which side you are pick to, this font is cuteness overload. It is for everyone, not only limited to Cat or Dog but also open for any Pet Lovers. This font is suitable for happy theme, cute, party, holiday, kids and many more. It is also suitable for Logo, Cards, Branding, Social Media, Youtube Thumbnail, Advertisement, Posters, any many others. To make it easier for you to design, we provide two additional font family to enhance the beauty of the design. Features: - Standard Characters (Uppercase and Lowercase) - Numerals - Punctuation - International Characters Disclaimer: Clips arts shown in the posters/images are not included. It is for promotional purpose. Enjoy designing and stay Safe! Tigadestd

Many years ago I studied American Sign Language in an effort to better communicate with some friends of mine within the deaf community. I found ASL to be a beautifully expressive language from a vibrant and active culture. Out of that attempt came this stylized depiction of the manual alphabet used in finger-spelling. Until recently it had only existed in analog form, born of pen and ink on paper. So now I'm glad to say it’s turned digital. Typing a period (.) will reveal the sign for “I Love You” (a combination of the letters I, L and Y), which fits nicely within the shape of a heart. Holding down the shift key while again typing period (greater symbol) will reveal the heart in its filled-in form, which can serve as an underlay. Use these in an application that supports layering in order to create different color combinations. There’s a stylistic alternate letter “S” and an “OO” ligature which can be accessed in OpenType-savvy apps.

A geometric Art Déco multi-widths type family Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette is built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Déco spirit is mainly capitals. Gérard Blanchard has pointed to Jean François that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. A simple sentence will be as diverse in its representations, as the number of Anisette variables available to the user. With Anisette, typography becomes a game, as to design any title page as flamboyant as if it has been specially drawn for it. Two typefaces, many possibilities The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Anisette Petite proposes capitals in a square proportion, intermediate between the two other sets, all of which are interchangeable. In addition, Anisette Petite also includes a set of lowercase letters. Its style references shop signs present in our cities throughout the twentieth century. Anisette, an Art Déco typeface Anisette: Reveal your typographic expertise Club des directeurs artistiques, 46e palmarès Bukva:raz 2001 Slanted: Contemporary Typefaces #24

Pretty Salmon is a display font that can be used for all chalkboard quotes or teaching material! Its authentic look and feel will add a personal and realistic feel to your designs.

Fatman is such big thick person. To me it seems to the most interesting font Fatman BL. I name it fatman with the broken leg. The letter A is similar to it.

It's sharp and pointy! This font is anything but minimal, it has an edgy personality with asymmetrical qualities. This edgy font is perfect to use for a band or an edgy poster.

Roadway is an original typeface with an antique accent, inspired by Clarendon woodtypes from late 19th century. It comes in three matching varieties, with extended character sets and a lot of personality.

Syafiqa is a chic handwritten font that can be used for all chalkboard quotes or teaching material! Its authentic look and feel will add a personal and realistic feel to your designs.

FM Thank You consists of 26 ‘thank you’ hand letterings - all custom made and handwritten. Now you have 26 unique ways to say ‘thank you’, adding a personal touch to your message.

Personalize your paper creations effortlessly with this brush stroke lettering font. Add unique titles and journaling to scrapbook pages, handmade greeting cards, business cards, name tags, place cards, programs, announcements, or awards.

Almerita is a sweet and delicate handwritten font. Dainty and joyful, this font will be ideal for writing wedding invitations, cards, or any other design that may need a romantic, personalized touch!

Beatlove is a sweet and delicate handwritten font. Dainty and joyful, this font will be ideal for writing wedding invitations, cards or any other design that may need a romantic, personalized touch!

Nathaly is a sweet and delicate handwritten font. Dainty and joyful, this font will be ideal for writing wedding invitations, cards, or any other design that may need a romantic, personalized touch!

Add some retro personality to scrapbooks, greeting cards, invitations, announcements, signs, and more. The round, thick lines of Groovy Smooth lend a playful 70s feel to the letters of this cool font.

ITC Lubalin Graph® was initially designed by Herb Lubalin and drawn to fit the requirements of typographic reproduction by Tony DiSpigna and Joe Sundwall in 1974. Its underlying forms are those of Lubalin's previously released ITC Avant Garde Gothic, but its shapes were modified to accommodate large slab serifs. Its condensed weights, which include small caps and oldstyle figures, were later additions by Helga Jörgenson and Sigrid Engelmann in 1992. The family, with its generous x-height and overall tight fit has come to represent the typographic style of American graphic design in the 1970s. The typeface is at home when paired with mid-century modern design and spare sanses or more traditional text faces from the period. ITC Lubalin Graph covers four weights in its condensed width from Book to Bold, and five weights in its normal width.

Vtg Stencil Germany No.101 is modeled after historic stencil plates from Bavaria. The design is a blackletter chancery, a romantic reprise of a style that was common in German writing offices from the 14th to the 16th century. The flourishes stylistically quote the Baroque period. A talented mind, perhaps around 1890, has transformed the textura shapes into a modular stencil system. Many elements are repeated throughout the glyph set - see for example the initial swashes on the letters A, B, U etc. Overall, this decorative blackletter doesn’t look like a stencil design. Maybe it was originally used by a sign painter, and all the typical stencil bridges would have been painted over in the final work. If you’re looking for a decorative blackletter font with a unique touch and a romantic feel, you will love Germany No.101.

Arzachel is a humanistic sanserif with a big x-height and a specific organic look. Its design is scientifically sharp and efficient in small type sizes as well as rugged and dramatic in headlines. Arzachel’s essential feeling comes from several features: all the letters are slightly sloped, stem terminations are flared at the top, and the terminals in letters a, c, e, f… are widening with the inside parts completely flat. The stroke contrast is low in the regular weight while it increases in the black; finally the capitals have an inscriptional flavor. Despite being a sanserif (thus a product of recent typography) Arzachel’s roots stretch back to the Renaissance tradition: Olocco took inspiration from some of the early and rather weird types cut in Venice in the 15th century. Arzachel was conceived during Olocco’s MA in Reading to provide a companion for his Zenon for use in small type sizes. But instead of expanding the Zenon family with optical sizes, the designer decided on a sans with its own personality rather than a sanserif version of Zenon with chopped-off serifs.

The Syncopate Pro Family is a unicase design where the traditional lowercase x-height has been abandoned and a single uppercase height rules the design of all of the alpha and numeric glyphs. Some uppercase glyphs are copied to their lowercase slots, where other lowercase glyphs such as the a, e, and r, are scaled up to uppercase heights. This motif allows for a vast array of typesetting possibilities. A modern and stylish sans inspired by the many trendy sans serif typefaces that are prevalent today, the Syncopate Pro Family, primarily intended for display and headline use, also works well for limited text runs. The thin and regular weights and wide body impart a certain level of elegance, while the unicase approach keeps the look lively and fresh. The bold weight imparts a powerful substantiality, lending a strong corporate presence to any design. Opentype features include: - Stylistic Alternates for a collection of alternate Small Caps - Full set of Inferiors and Superiors for limitless fractions - Lining and Proportional figure sets