The Bekuri font is the perfect visual harmony for music-style projects, festivals, and special events. With seductive and graceful characteristics, this font carries a special tone suitable for celebrating historical moments in your designs. With a family that includes regular, shadow, outline, and distort, Bekuri provides unlimited flexibility to depict your message with a powerful style. However, what makes this font stand out is the ligatures that add a unique and artistic feel to each character, giving you the freedom to explore your creativity in every project. Its ability to support multiple languages makes it an invaluable asset in reaching a global audience. Bringing visual beauty and musical charm to every touch, Bekuri is the key to bringing the feel of festivals and big events to every design. So, if you are looking for a font that celebrates the musical style in all its glory, Bekuri is an undeniable choice.

Here is a decorative condensed antique design that is sure to fit a variety of contemporary situations. The Bruce Type Foundry (later acquired by V. B. Munson) developed this wonderfully shaded Tuscan in the 1880s - or possibly earlier. It was known back then as Style No. 1050 and carried a pronounced three-dimensional look with a thin hairline at the bottom and right of each stroke. It is best to use Frisco Antique in large display sizes because it is easy to lose these delicate hairlines. A lowercase and several alternate characters have been provided for your convenience. Frisco Antique Display is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Introducing Hero Beam Typeface Hero Beam typeface is inspired by the form of writing in the era of the European empire. Carrying a Victorian theme that has an elegant and of course cool swash. Hero Beam typeface is perfect for classic Victorian themed designs, packaging beer, whiskey, barbershop, pomade, tattoo studio logo and so on. Hero Beam also has 2 types of letter shapes, namely the regular type and the hold type which is like bone which makes it more character. Apart from that this font is very easy to use in both design and non-design programs because all alternates and glyphs are supported by Unicode (PUA). In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

In many aspects, built in a traditional way. Still, some modern details have been implemented which classic designs sometimes lack. The prime goal was to make a strong text font for books and longer texts in general. This fact does not exclude the possibilites for use elsewhere. Throughout history existing designs have often been the source of inspiration for newer ones. Delicato is no exception and looking closely, similarities can be found in the lowercase of Jeremy Tankard’s Enigma and the stems of Petr van Blokland’s Proforma. The goal is to respect these sources and turn the the typeface into something new with a unique and personal touch. Most text faces carry a basic set of weights like Regular, Italic, Bold and Small Caps. MRF wanted to expand that a little bit further and added a Medium, Alternates and a set of Ornaments to make the family complete and versatile.

Originally a conceptual approach from the Chatype project of Jeremy Dooley and Robbie de Villiers, Quatie has been restructured to add a new industrial element to Insigne’s offerings. Like the Official Font of Chattanooga, Tennessee, Quatie definitely carries a contemporary, hipster feel. Quatie similarly draws much of its inspiration from the industrial brawn of the railroad and the unique characteristics of Cherokee letterforms, giving it an atypical form not usually found in an industrial slab. While the Quatie concept was originally set aside for the more technological look of Chatype’s final image, Jeremy revived this face from its dormant state and refined it for its commercial release in 2013. This bracketed slab with its slightly rounded, soft edges adds a warm, retro, industrial element to Insigne’s offerings. The resulting quirky, ‘hipster’ vibe of Quatie lends its voice to give an unparalleled edge to your designs.

Branding Super Family is an extension of the Branding project , including new variables that cater to a wide array of requirements, still maintaining its essence. It is a super family for modern needs! Additional to its particular design, different widths are included: now Branding Ultra Condensed is a reality. The project also considers a variety of alternate characters, making Branding Super Family a great tool for graphic designers and art directors. It is ideal for use in logotypes, isotypes, short texts, and others. Branding Super Family is a Sans Serif spurless font with medium-large x-height, straight curves and convex terminals. It has 7 weights and 4 widths that vary from thin to black, and from ultra condensed to medium, each with their matching italics. It also includes a set of 544 characters supporting 128 languages. OpenType characteristics include European accents, old style numbers and 4 sets of alternates.

Darkness Falls… beware the Moon and stick to the road. Keep clear of the moors, for there you will only find a bloody, UNNATURAL death. Tonight, as every night there is a Full Moon, the Blood Beast stalks the village. It is ready to catch the unwary one, the show-off, the FOOL! It walks the Earth in limbo from one month to the next and only one who is loving in spirit can bring an end to its Carnivorous Lunar Activities! Blood Beast arrives in three weights, Regular, Bold and Heavy, but we recommend you don’t tackle any of them unless you are brave of heart and prepared to save the soul of the poor victim who was left with the Mark of the Blood Beast! Features: Three weights with alternate upper and lowercase characters Languages: Western & Central Europe Automatic alternates & Crossbar I Technology™

With a stylish Dutch accent, this font draws inspiration from a 1935 brochure by the talented graphic designer and artist Dirk Hart. Carrying different hand-drawn lettershapes on upper and lower case slots despite being a unicase typeface, this font also brings a nice set of ornaments and complete sets of initial and terminal swash forms. When working with OpenType savvy applications these can conveniently be applied at the click of a button, thanks to the smart swashes programming, which will change the first and last letters in words with its corresponding initial or terminal forms. There are also some stylistic alternates for a (yet) more decorated look. The black version, with a somewhat art-deco feeling with added boldness, is also very decorative and contains the same features as the regular cut: smart swashes, different letterforms on upper and lowercase slots, ornaments and stylistic alternates.

Fountained is a luxurious script font that beautifully marries sophistication with a touch of playful elegance. The characters in Fountained boast a generous thickness, making each stroke exude opulence and a sense of grandeur. The swinging ends, resembling graceful flourishes, bring a touch of movement and style to the font, ensuring that Fountained stands out as a distinctive script font. Enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Fountained fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Petunia is a calligraphy style font designed by New York based calligrapher Eliza Gwendalyn . Her modern copperplate script has been a style she has been developing throughout her career. Her angelic flourishes and bouncy style are widely influenced by Eliza’s favorite childhood character Alice in Wonderland falling down the rabbit hole. She pairs her elegant script with a traditional sans serif and serif which is based on Eliza’s everyday handwriting. The name ‘Petunia' acquired from her childhood nickname her parents called her which was only fitting to choose as the name of her font that was derived from her childhood fantasies. Widely known in the wedding industry, she curated this font family for industry professionals with a versatile array of styles: a script, a bold script, sans serif, sans serif italic, serif, serif italic, and specially calligraphy words & ornaments making this a total package for all types of designers.

STF Eclectic Medley is the budget-concious answer to your dingbat blues! This "best of" collection from the Eclectic One, Two and Three fonts is the ultimate grab-bag dingbat resource. Every slot in the font is filled (over 200 characters!), and includes the form-making glyphs from Eclectic Three. The Eclectic family is legendary, with a cult-like following among the inititated. You'll find yourself using Eclectic Medley almost daily to add spice to your otherwise san-serif typographic existence. This font is essentially a soap opera of typographic image elements, created for projects when I couldn't find the "thingbat" I needed. Almost more of a collection of illustrations, there are many characters which connect to form patterns, and of course it's like a "small neutral European country" army knife for the creative community. Available in Mac and PC formats. License it today!

Introducing Sebale – Handwritten Script A Playful Handwritten Script Sebale, a font brimming with delightful whimsy, injects a playful touch into your designs. Charming Whimsy Sebale’s design is not only handwritten but also exudes charming whimsy, making it an ideal choice for a variety of creative projects. Versatile for Creative Endeavors Moving beyond its charm, Sebale’s versatility shines through, allowing it to seamlessly enhance a wide range of design projects. From greeting cards to branding, it offers a wide array of possibilities. Engaging and Memorable Sebale ensures that your content is not only engaging but also incredibly memorable, leaving a lasting and delightful impression. In Conclusion To sum it up, Sebale – Handwritten Script is the font that effortlessly infuses a delightful playfulness into your designs. Its versatility makes it suitable for a broad range of creative endeavors, ensuring accessibility to a diverse readership. With Sebale, your projects will undoubtedly stand out.

Introducing “SEDOYA Font” – Where Handwriting Meets Elegance. SEDOYA Font is the epitome of graceful handwriting. With its exquisite handwriting theme, this font adds a touch of sophistication to your creative projects, making it the ideal choice for those seeking refined and elegant script. Whether you’re designing invitations, branding materials, or anything in between, SEDOYA Font effortlessly captures attention and infuses your designs with timeless charm. Crafted with meticulous detail, SEDOYA Font exudes the elegance and allure of handwritten script, forging an immediate connection with your audience. Its versatility knows no bounds, making it suitable for a wide array of applications, from wedding invitations to luxury branding. SEDOYA Font elevates both legibility and style with its flowing strokes and refined lines, lending a natural and enchanting appearance to your text. It also offers multilingual support, ensuring it resonates with a global audience. – PUA Encoded Characters – Fully accessible without additional design software.

Unique and decorative signage for many drive-ins, motels, food stores and other businesses of the 1940s had what was referred to as “privilege signs” provided by one of the major cola brands. Consisting of the brand’s emblem on a decorative panel, the remainder of the sign would carry the desired message of the storekeeper (such as “Drive-In”) in prismatic, embossed metal letters. Inspired by the Art Deco sans serif style of those vintage signs, Privilege Sign Two JNL recreates the type design in both regular and oblique versions. The typefaces are solid black, but adding a selected color and a prismatic effect from your favorite graphics program can reproduce the look and feel of those old businesses. This is a companion font to Privilege Sign JNL, which recreates the condensed sans serif lettering of other privilege signs from the 1950s and early 1960s.

With the clear, simple elegance of its sans serif forms and the warmly human touches of its tapering stems, the Optima family has proved popular around the world. In 2002, when it was finally possible to produce digital alphabets without technical limitations and compromises, and more than fifty years after the first sketches, an expansion and redesign of the Optima family was completed and released as Optima nova. Hermann Zapf and Japanese type designer, Akira Kobayashi, collaborated on the project, which included re-working of the existing weights and the addition of several new weights: small caps, old style figures, light, heavy, and condensed. The original Optima was never manufactured with a real italic, only an oblique version of the roman. Optima nova has a complete range of beautifully designed real italics; the new italic forms, of the e, f and g are especially notable. The titling face includes capital letters with special and unusual letter combinations and ligatures, making it an excellent choice for headlines, logos and advertising purposes. Optima continues to be an all-purpose typeface; and Optima nova works for just about anything from book text to signage. Optima Nova® font field guide including best practices, font pairings and alternatives.

Forget everything you know about TT Smalls because we have re-released the font! TT Smalls useful links: Specimen | Graphic presentation | Customization options TT Smalls is now a decorative font that makes it easy to attract attention. Use it to design expressive headings, in the packaging design or to highlight text on a site. Be sure that the text set in TT Smalls will arouse the interest of the audience. Once TT Smalls was a neutral geometric sans serif, and the inline version was an alternative stylistic set. However, the TypeType collection of universal fonts is extensive, so we focused on creating a unique and expressive font and released an updated TT Smalls. The font contains only uppercase characters in the inline version, and glyph designs are based on a geometric sans serif. With an increase or decrease in weight, the number of strokes in the font goes up or down, respectively. Stylish and easy to use, the TT Smalls font can complete a collection of eye-catching decorative typefaces. Font TT Smalls contains 12 styles: 6 upright and 6 inclined. The character set of the font is 172 glyphs. It has basic Latin and Cyrillic and the main punctuation marks. The standard OpenType feature calt has been added to the font.

Momoiro is a feminine typeface family, designed for editorial use. "The first case in which appeared a fashion content in a magazine was in 1672 in the magazine Le Mercure Galant, which was a magazine of entertainment and varied content, including fashion. But the first illustrated and specialized magazine was Le Journal Des Dammes Et Des Modes, created in 1797. "(Fashion Trends, 2011). On the basis of this historical period, the creation of typography has characteristics of a Baroque type. "In this category we mainly include the types created in the Netherlands during the seventeenth century and whose protagonists are the punch makers Reinhard Voskens and Christoffel Van Dijck. Baroque typography stands out for its accentuated play of irregular axes and contrasts that permeate the text of great vividness. " Therefore it has contrast in the thick and thin strokes, Roman serifs, humanistic axis. With this typography, we are not looking for a re-reading of the baroque, but rather a current typeface with humanistic characteristics of the handwriting, with a brush as a differential. Momoiro comes in two weights plus italics to cover as much design needs as possible. It compliments from OpenType features such as ligatures, swashes, true fractions, old style numerals and stylistic sets.

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.

Bruney is a Classy and Unique font for brand and logo design. Based on our experience as a graphic designer who works for a lot of companies, we often are requested to design a logo in a unique style but with an elegant shape. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get classy, elegant, and certainly unique logos with this font. To make it look more classy and unique, here we prepared some ligatures: KA KI KU KE KO LA LI LU LE LO RA RI RU RE RO EB EH EP ER EK HB HP HK HR TB TD TE TF TP TR TT UB UD UF UK UM UN UP UR VA WA AB AD AR AV AW CK OO OC CA CY EA EB ED ES GB GH GK GB GR HB HP HR HK KB KD KS EY FY LS ME MU MB MD MF MH MK MP MR NN SO RS SB SD SE SF SP SY SR ST SS LL UN CS Bruney is also included full set of: uppercase letters multilingual symbols numerals punctuation Wish you enjoy our font. :)

Why Baka Expert? There’s actually a simple answer. The original Baka was done as an experiment of sorts. I wanted to quickly capture a rough, frenetic handwriting style that broke normal conventions. Commercially, it was successful, received some accolades ... but I wasn’t completely satisfied, so I went back to the master art and the lettering explorations and produced Baka Too. This addressed some of the line items I wanted to refine in Baka. I liked it. Each font has been out for a few years now, and I have seen them in use. I’m very critical of my work, and I could still see things—modulations of strokes, angle of the nib, ink swell, and so on—that I wanted to change, refine, and reorder. For me, it is typographic indulgence, but I wanted to take this handwriting ‘font’ and turn it into a robust ‘typeface.’ So I did just that and a bit more by adding back more of my initial flourish concepts; attaining tighter, consistent control of the modulation; optimizing points; adding titling options; and expanding the character language set. Baka and Baka Too had to exist to produce this entirely new re-envisioning of an old friend ... and they all play well together :)

Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century punchcutter Francesco Griffo for Venetian printer Aldus Manutius. Beyond the letterforms themselves, however, the digital fonts themselves are based on the techniques and methods Griffo employed. The family comprises four distinct variants optimised for specific point sizes, as was traditional in metal type. While the display sizes maintain a visual link to calligraphic roots, text sizes exhibit more typographic qualities, following the hand of the carver. Likewise, Neacademia maintains its even colour on the page by carefully employing alternative letterforms, rather than leaning on a multitude of kerning pairs. A geeky little detail you’ll likely need to point out with a magnifying glass to your type friends, but creating a neat texture that works in readers favour nonetheless. Neacademia’s historically sensitive eye is put to work for modern typographers’ needs. It incorporates Griffo’s italic capitals and harmonizes them with the lowercase and the romans — where the original Aldine italics had no capitals of their own and simply re-used the uprights. It was designed with specific allowances for letterpress photopolymer printing. Printed digitally, it can tolerate – and even benefit from – low resolution, rough paper, and low-grade presswork. In many ways, it feels like using metal type again!

Epica is a contemporary interpretation of the Venetian Renaissance types. A humanist type family with a contemporary design. This family encompasses different typographic scenarios with emphasis in style and functional equilibrium. Its letterforms show the visual richness of Epica that includes some calligraphic reminiscences perfectly legible in small and display sizes. Its strong personality makes it distinguish, because it perfectly combines the elegance of antique typographies and the forcefulness of contemporary ones. This family has been designed in two different moments. Epica Serif, which have a more classical design, was finished 5 years ago in its first version. The first sketches were drew 8 years ago during the Master of Type Design at the University of Buenos Aires. Through the years was re design in several times to the point of reaching its current version. On the other hand, Epica Sans was completed in 2020 and is the counterpart of Epica Serif. A complementary system designed to enrich the serif version and give new options for hierarchy and composition. This is a versatile type family perfectly fit for books, editorial, and usage in print and on screens. It possesses great legibility in body texts, which makes it ideal for extended reading and supports a variety of languages.

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.

Vintage sheet music for a song from the 1941 animated feature "Mr. Bug Goes to Town" featured a casual, hand-lettered inline type style on its cover page. Recreated as the digital font Go to Town JNL, this design is presented in all the imperfect glory of pen and ink lettering. Go to Town JNL is available in the regular inline version as well as a solid version. A bit about the cartoon: The project was created by the legendary Fleischer Studios in Miami, Florida (they had relocated from New York City), after they could not obtain the rights to adapt Maurice Maeterlinck's "The Life of the Bee". Beset by the expenses of relocating to Florida, growing production costs on the full-length feature cartoon and other problems; mid-way through the making of "Mr. Bug Goes to Town" the Fleischer brothers were forced to sell their studio to their distributor (Paramount Pictures) in order to continue in operation. It was released on Dec. 5, 1941 - just two days before the Japanese attack on Pearl Harbor. The release [and subsequent re-release by Paramount as "Hoppity Goes to Town"] was a disappointing failure, earning [as late as 1946] only $241,000 of the initial cost of $713,511 it took to make the film.

As I contemplate the beauty of Subroc, my mind drifts to a melancholic state, reminiscing the memories of a bygone era. This debonair joined-marker script typeface embodies a nostalgic charm that is difficult to resist. If your application supports ligatures, Subroc’s custom letter pairs automatically substitute for a more natural look. The resulting effect is akin to a handwritten note from a long-lost lover, carefully crafted with every stroke. But what truly sets Subroc apart is its inconspicuous, granular texture. The grittiness of its design transports you to a different time, evoking feelings of nostalgia and carefree abandon. Subroc’s beauty is not for the faint of heart, as it carries the weight of a thousand emotions with it. But for those brave enough to embrace it, the result is a breathtaking amalgamation of history, art, and emotion. So let Subroc be your muse, and let your words flow freely, imbued with the essence of a bygone era. Let your message carry the weight of history, and leave a lasting impression on all who see it. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Hollywood Stars (Volume 1) is a unique collection of signatures of 92 famous Hollywood stars in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of the arts, history, movie buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous Hollywood celebrities. This font includes signatures from the following Hollywood personalities: Michael Jackson, Farrah Fawcett, Elvis Presley, Marilyn Monroe, Ben Stiller, Kate Beckinsale, Steve Buscemi, Mel Gibson, Helen Hunt, Paul Reiser, Angelina Jolie, George Kennedy, Larry King, Edward Norton, Mira Sorvino, Steven Spielberg, Kate Winslet, Daniel Day Lewis, Laura San Giacomo, Holly Hunter, Jane Fonda, Alan Alda, Robbin, Williams, Alan Rickman, Al Pacino, Drew Barrymore, Bob Newhart, Brooke Shields, Burt Reynolds, Keira Knightley, Cheryl Ladd, Basil Rathbone, Minnie Driver, Debra Messing, David Schwimmer, Clint Eastwood, David Hyde Pierce, Burgess Meredith, Donald Trump, Linda Evans, Tony Danza, Gene Wilder, Cameron Diaz, Judi Dench, George Clooney, Nicolas Cage, Timothy Hutton, Jennifer Garner, Jay Leno, Tony Curtis, Suzanne Somers, Connie Selleca, Donald Sutherland, Jack Klugman, Tony Randall, Matthew Perry, Jenna Elfman, Morgan Fairchild, Jack Nicholson, Chazz Palminteri, Dustin Hoffman, Anthony Hopkins, Walter Matthau, Larry Hagman, Lisa Kudrow, Bill Cosby, John Mahoney, Ray Liotta, Jon Voight, Christian Slater, Chris Cooper, Dwayne "The Rock" Johnson, Drew Carey, Eli Wallach, Douglas Fairbanks Jr., Amanda Seyfried, Danny DeVito, Gary Sinise, Mary Tyler Moore, Edward Asner, Will Rogers, Cuba Gooding Jr., Bela Lugosi, Charles Grodin, Victoria Principal, Winona Ryder, Tea Leoni, Matt Damon, Loni Anderson, Emma Thompson, Ed O'Neill, Karl Malden. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

In 1459, while visiting his dying mother, Italian painter Piero della Francesca spent seven days creating a fresco of a pregnant madonna in a small country church in the hilltown of Monterchi (Italy). Hailed today as one of the masterpieces of Italian Renaissance, the fresco was given a new branding in 2019 by Art Director Riccardo Falcinelli who asked the Zetafonts team to develop a custom font for the project. The resulting typeface system, designed by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini as a rework of Francesco Canovaro original Beatrix Antiqua, is a 50-weights ode to the beauty of classical roman letterforms, that pairs elegant alternates and quirky ligatures with an array of design options for clear and effective editorial, signage, logo and wayfinding design. The base display family, Monterchi, allows endless design expressions with a range of six weights from the slender thin to the strong extrabold, all with matching italics and an array of over one hundred discretionary ligatures. A fine-tuned companion Monterchi Text has been developed to excel in body use, with a larger x-height and wider spacing - clear and legible even at small sizes. The use range of the family is enriched by Monterchi Serif and Monterchi Sans that feature different contemporary interpretations of the same classical geometric skeleton, allowing for layered editorial design and variation. All the fifty fonts in the Monterchi Type System feature an extended character set of over 1100 glyphs covering over 200 languages using the Latin alphabet, as well as Greek and Russian Cyrillic. Open Type features include small caps, positional figures, alternate letterforms, stylistic sets and discretionary ligatures. With his elegant, historical aesthetic, Monterchi embodies the spirit of early Renaissance and the humanist obsession with constructed and geometric beauty - still managing to function as a workhorse family, ready to help any designer in need of a timeless classic look, or looking for the right ligature to transform a simple word into a striking wordmark.

I arrived this concept as a means to fulfil a need for a simple yet radical semi-sans with rounded terminals. My concept called for a modular approach so a single weight font family resulted, the monoline stroke weights being one-eighth of the cap height and the x-height five-eights, the descent two units. Within these constraints I found it was simple to devise an alphabet which met my need for quirkiness whilst retaining its legibility. As for the outline, shadow and contour variants - well they just seem to work. If you are wondering - and you don't hail from the "Land Downunder" - Canberra is our nation's capital; Bondi - "water breaking over rocks" a beautiful beach in Sydney; Uluru is the name given to the world's largest pebble, (formerly known as Ayers Rock); Kakadu is a national park in the "Top End" and Koomerang means "hill of clouds" - all place names in their respective Australian indigenous languages. Come on down - the natives are friendly.

Belarya Script is a modern calligraphy font with the current handwriting style, this font is perfect for branding, wedding invites, magazines, mugs, business cards, quotes, posters, and more, you can try first if you want to buy this font. Belarya Script is equipped with 592 glyphs. and by having many of these glyphs there will be able to choose the letters according to your likes, lots of variations and options for each letter, so you can customize on your design choices. to use a variety of flying machines, you need a program that supports OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign and Corel Draw and many more programs that support OpenType. If you do not have a program that supports OpenType, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows) Thank You for purchase! Designers: Afri Giani Publisher: Gian Studio

Designed by Jochen Hasinger of Frankfurt, Germany, Covent BT is an unconventional geometric sans serif typeface, featuring rounded terminal ends and a stencil-like break of the contour in some glyphs. At first glance you might think of it as a display typeface, but the generous x-height and openness of the lowercase makes Covent BT very legible at text sizes. Central Europe and Cyrillic is supported in the extended glyph set. Each weight contains 485 glyphs and includes some alternate figures, some upper and lowercase alternates, as well as others, all accessible via OpenType features. Covent BT Symbols is a stylized geometric symbol font, intended to stand alone or used as a companion to the Covent BT typefaces. The array of glyphs covers many of the more popular icons of the day including symbols for web use, numbers, sports, travel and astrology, to name a few, each with its own unique stylized interpretation.

Celestina is the lively spirit, just like drops of ink on a piece of paper or clouds in the sky. The same spirit is maintained by the rounded letters of the script and by the characters' small whorls. Celestina has come to life as a result of a peculiar game in which I tried to bring together the letters with different tempers with help of calligraphic instruments. I wanted to create a very light and playful font which would look like a quick inscription on a piece of paper, but would also be easy to read in a text array. As I was working on the font, my cat Celestina has been very interested in the brush painting process, and I had no other option but to name the font after her! Celestina works perfect for both Moomins stories and personal blogs, as well as for the design of hand-made things, and even just then when you want to put yourself into a good mood!

Introducing Black Corps - Military Serif Font Black Corps is a military serif font that comes in four distinct styles - solid, inline, outline, and stencil. This versatile font is perfect for use in a wide range of design projects, including branding, advertising, and packaging. Its military aesthetic makes it suitable for use in official documents and military communications, and its four different styles allow you to create a wide range of looks. The solid style of Black Corps is bold and straightforward, making it perfect for use in headlines and titles. The inline style adds a touch of elegance, while the outline style is light and airy. And the stencil style is perfect for creating a rough, rugged look. FEATURES - Uppercase and Lowercase letters - Numbering and Punctuations - Multilingual Support - Works on PC or Mac - Simple Installation - Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word Hope you Like it. Thanks.

Oddsorts’ Ciao Bella family pairs the funky elegance of a hand-drawn copperplate script with a bouquet of ornament fonts. Ciao Bella’s expansive range of alternate opening and closing forms, word-connecting ribbons, and swash characters use the power of OpenType to create a genuinely hand-lettered look. Bursting with over 2,000 characters, the Ciao script mates broad linguistic support with expressive possibilities galore in an easy-to-use software experience. But then there are the ornaments! What’s truly innovative about Ciao Bella’s ornaments is that most of the characters come in pairs that can be set in multiple colors without any stacking, layering, or aligning. They work in any application that supports kerning — even most word processors. See the slideshow and Gallery link above to see how they work. Ciao Bella marries the best of the old world — the warm, classic feel of ink on paper — and the new — the amazing capabilities of “smart” OpenType fonts — in a union that’s sure to delight.

The original version of Salloon was what has become Salloon-Wide. It was designed a year or two before 1990. The narrower version, which is now the regular version of the face, was constructed a few years later. There never has been a true lower-case set of letters for these fonts, but the narrower version introduced a second set of caps by removing the side bumps from the letters. Although Salloon may look like an old font, no historic font closely resembles it. Fonts with bold, thick stems such as Salloon invite interior decoration. The five striped versions and the shattered version of the font were produced a year or two after the construction of the narrower Salloon when the arrival of a font distortion program made it easy to cracked and stripe fonts. In 2019 an outline style and two highlighter styles were added to be used in layers with the Salloon-Regular and one highlighter style was added to be used with Salloon-Wide.

The Gold Rush is over, the prospectors have made their fortune and the mine has been worked out! The inhabitants of Boomtown USA have moved on -- the saloon is dry, the sheriff has hung his hat and the only visitors to the local whorehouse are tumbleweeds. Yeah, the buildings remain -- hollowed out husks carrying memories of bar room brawls, high noon shootouts and high stake poker games between outlaws -- but if you take a walk down the street be careful not to kick up too much dust... Turn the corner and you might see Ol' Toothless Joe standing on the corner sucking on a bottle of whiskey... And don't walk too slowly past the storefront of the undertaker -- that guy made his living putting strangers like you in a wooden overcoat from sunrise to sundown. Spooks and Spectres linger everywhere... there's a sign just down the road -- didn't you see it? "Ghost Town! Abandon Hope all who Enter Here!"

Introducing Brightland - Condensed Sans Serif Font Brightland is a condensed sans serif font that comes in four distinct styles - solid, solid italic, line, and line italic. This versatile font is perfect for use in a wide range of design projects, including branding, advertising, and packaging. Its clean, modern aesthetic makes it suitable for use in a variety of settings, and its four different styles allow you to create a wide range of looks. The solid style of Brightland is straightforward and uncomplicated, making it perfect for use in headlines and titles. The solid italic style adds a touch of flair, while the line style is light and airy. And the line italic style is perfect for creating a more playful, imaginative look. FEATURES - All Caps - Numbering and Punctuations - Multilingual Support - Works on PC or Mac - Simple Installation - Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word Hope you Like it. Thanks.

Capital is a multifunctional super family with modernist roots. It is comprised of two distinct subfamilies: Gothic and Serif. Both share the same structure and proportions and come in seven weights – thin, light, regular, bold, extra bold and black, along with corresponding italics. Both Capital families are equipped with a full set of Cyrillic characters, making them a versatile choice for multinational use. All Capital fonts come with the following Open Type features: Small Caps, Old Style Figures, Fractions, Numero-sign & Ligatures.  Features specific for Gothic roman versions only are Circle Numerals, Titling alternate for the R character and Arrows. The Gothic italics have a Titling alternates feature where the true italic forms are omitted and replaced with simpler stroke endings. Both Capital gothic and Serif families are true workhorse fonts that can carry out almost any typographic task. Combine them both for the best results – multi-pack available for a no-brainer price.

Neon Bugler is a font based on the third logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore. This font design has these principles as its parameters: The letters generally follow what would be natural stroke directions; no sharp corners, all gentle turns; no lines back up over each other, cross each other, or run into each other. All of this civility between the lines produces an unintentional but welcome neon quality about it. This font can have a variety of vibes depending on its context--it has a certain nostalgia to it, yet it also has a slick, clean, futuristic look. It can even be used in a semi-grunge setting. This is a very versatile font! And if you like this font, check out the new boxy version of it, Neon Bugler Squared! Digitized by John Bomparte.

“My Dearest Friend” is how she began nearly all her letters to her husband, John. I refer, of course, to Abigail Smith Adams, first Second Lady and second First Lady of the United States. Her famous correspondence with John Adams produced nearly 1,200 letters over a span of some 40 years, leaving us with a priceless record of early American life — from household routines to war and politics to expressions of personal worry and devotion. Although Abigail’s was not the loveliest hand, I found it sure and expressive, as befitting her extraordinary sway and intelligence; it also carries a genuine flavor of the period. In making the font I focused chiefly on her handwriting from the 1780s and ’90s, when she’d taken to using a disconnected cursive, which struck me as distinctive and alluring. The OpenType release of Abigail Adams has scores of ligatures, standard and contextual alternates, lining and old-style figures, cross-outs, ink blots, and full Latin language support.