Description This is Networkand Family. World's best graffiti and non-graffiti marker-styled font ever. Networkand marker font family, carefully selected from hundreds of letters. Signature-styled Networkand Script perfectly fits next to the Networkand Font. Besides all this, the Networkand Swashes Font is designed to customize your designs to another level. You can read Medium article here. FEATURES: Original: Networkand Fonts and swashes created for your special designs. You can turn your dreams into reality and customize them. Unique Creation: An unprecedented experience a creation that no one has ever had before and will uncover your awareness. Create your Brand: Unlike a standard font to create a new brand concept. Be different. Be different in life. Your own. Create your own mark: That’s the most special part of this font. A brand new identity for your personal signatures.

30s inspired geometric inline display typeface Several titling typefaces made their appearance at the start of the 20th century, notably Acier and Bifur, both created by French poster artist Cassandre. Later, in the Netherlands, S.H. de Roos designed a version of Inline for its Nobel family called, naturally, Nobel Inline. AW Conqueror Inline pays homage to this beautiful version. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skillful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

Neon Love was designed originally for a circle coaster design with a quote by the Beatles’ “All you need is Love, Love is all you need”. The inspiration of the lettering was a neon sign style where a cursive script is kind of bended from those glass wires. The idea was to get the overall look and feel of neon signs into a font, as well as creating a good raw material to use for some further photoshop effects to enhance the visual presentation. Neon Love has many OpenType features that allow for choices that can make the lettering unique. Neon Love has two versions of the font a Smooth one which is connected and the Cutout version which can be used to create neons and for this it is in parts. Design by Roland Hüse and Schriftlabor team.

The Rosella™ family, by Sabina Chipară, is an elegant and playful suite of typefaces that are ideal for book covers, social announcements, packaging and posters. Inspired by late 19th century engravers typefaces that mimic the delicate and ornate hairlines of steel and copperplate engraving, the family’s foundation is built on the dramatic Solid design and then expands to Deco, Engraved, Flourish, Hatched and Inline styles. Rosella also takes to color like the beautiful Australian parrot it is named after. Words set in the typeface come alive when vibrant colors, or tinted backgrounds become part of their plumage. While modern as today, the design also has a quiet antique vibe that brings an understated refinement to a variety of hardcopy projects. Rosella is a typeface for those times you need a design that stands out from the crowd – but with grace and composure.

South Wind Font is a handlettered font with 107 ligatures, lot of alternate characters and multilingual support. Is ideal for blog website, instagram, branding, invitations, business cards, weddings and many more. Ligatures list: ab ae al am an ar as at ax ay bb bl cc ch cl ct dd ee ef el en ep er es et ff ft gh ia ic ie il in it iu kt ll of ok ol om on oo op ot ov rr sh sl sm ss st th ts tt Af Ap As Be Dl Em Es Et Eu Ft If Is It Kt Ml Mr Ms Mt Ph Pl Pt Se Sh Sl St Us outh all alt arr ass can cus ell esl etl ett ill obl old oll oth out sim ted South Wind font also include multilingual support for Western and Central Europe. South Wind Font is a set of 542 glyphs, Upper and Lowercase characters with 107 ligatures, numerals, lot of punctuation glyphs, 3 alternates for each lowercase character and 2 alternates for each uppercase character. For access to Stylistic Alternates is required software with glyphs panel like Photoshop, llustrator, Inkscape etc. No special software is required to use Ligatures.

Letrista Script is a product of observation and sensitivity of sign painter artists not only from United States but from other parts of the world, where the brushstrokes letters have reached a high level of importance in different context, where the writing makes fundamental part. With more than 1000 glyphs, this typography was created to achieve a unique texture without losing the legibility or force, to interact with the alternation of decorative characters and adornment that will surprise. After a year of working and checking with many artists, Letrista Script come up to the public with the guarantee of being an useful tool in your computer in the design time. When you know it, you surely won't stop using it, because of its beautiful characters and great texture. It is full of surprises and facilities for the users. Letrista Script includes standard ligatures, stylistics alternatives, discretionary ligatures, swashes, titling alternates and terminal forms, Stylistic Set 1, 2, 3 and 4, ornaments and a complete package of Catch Words. See specimen and samples here. Letrista Script was selected at the Bienal Tipos Latinos 2012. Check out some uses of this font here https://fontsinuse.com/uses/20207/ica-beverages

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino, Fino, and Fino Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino family, along with our entire catalogue, has been optimised for today’s varied screen uses. All these talents let Fino perform a range of roles far broader than your typical Bodoni or Didot.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino Sans is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino Sans, Fino Sans, and Fino Sans Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino Sans to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino Sans family, along with our entire catalogue, has been optimised for today’s varied screen uses. All these talents let Fino Sans perform a range of roles far broader than your typical Bodoni or Didot.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino Stencil is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino Stencil, Fino Stencil, and Fino Stencil Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino Stencil to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino Stencil family, along with our entire catalogue, has been optimized for today’s varied screen uses. All these talents let Fino Stencil perform a range of roles far broader than your typical Bodoni or Didot.

ITC Merss proves that sometimes accidents work out just fine. Late one evening Eduardo Manso, an Argentinean graphic and type designer, spilled coffee on his desk. When he began to wipe up the mess, he noticed that one of the splashes looked like a roman letter 'l' - complete with serifs. This triggered his imagination. “What if a complete alphabet was created with this same irregular flow to the character designs?” ITC Merss was the result of Manso's experiments with “fluid” letter shapes. The oddly handsome design looks aged and spontaneous at the same time. Its irregular texture is striking-the result of careful modeling of character shapes. While Manso wanted to maintain the free-form character of spilled liquid, he also knew the individual letters had to work together with an underlying harmony. When not experimenting with typefaces - or spilled coffee - Manso creates award-winning graphic and publication designs. A contributor to the design magazine el Huevo (the Egg), he also writes articles on type and typography and is part of the publication's design team.

After doing this for so many years, one would think my fascination with the old history of writing would have mellowed out by now. The truth is that alongside being a calligraphy history buff, I'm a pop technology freak. Maybe even keener on the tech thing, since I just can't seem to get enough new gadgets. And after working with type technologies for so many years, I'm starting to think that writing and design technologies as we now know them, being about 2.5 post-computer generations, keep becoming more and more detached from what the very old humanity arts/tasks they essentially want to facilitate. In a world where command-z is a frequently used key combination, it’s difficult to justify expecting a Morris-made book or a Zaner-drawn sentence, but accidental artistic “mutations” become welcome, marketable features. When fluid pens were introduced, their liquid saturation influenced type design to a great extent almost overnight an influence professional designers tend to play down. Now round stroke endings are a common sight, and the saturation is so clean and measured, unlike any liquid-paper relationship possible in reality. Some designers even illustrate their work by overlaying perfect circles at stroke ends, in order to illustrate how “geometric” their work was. Because if it’s measured with precise geometry, it’s got to be meaningful design. And once in a while, by a total freak accident, the now-cherished mutations prove to have existed long before the technology that caused them. Rolling Pen was cued by just such a thing: A rounded, circular, roll-flowing calligraphy from the late nineteenth century seemingly one of those experimental takes on what inspired Business Penmanship, another font of mine. Looking at it now it certainly seems to be friendlier, more legible, and maybe even more practical and easier to execute than the standard business penmanship of those days, but I guess friendliness and simplicity were at odds with the stiff manner business liked to present itself back then, so that kind of thing remained buried in the professional penman’s oddities drawer. It would be quite a few years before all this curviness and rounding were thought of as symbolic of graceful movement, which brought such a flow closer to the idea of fine art. Even though in this case the accidental mutation just happens to not be a mutation after all, the whole technology-transforms-application argument still applies here. I'm almost sure “business” will be the last thing on people’s minds when they use this font today. One extreme example of that level of disconnect between origin and current application is shown here, with the so-called business penmanship strutting around in gloss and neon. Rolling Pen is another cup of mine that runneth over with alternates, swashes, ligatures, and other techy perks. To explore its full potential, please use it in a program that supports OpenType features for advanced typography. Enjoy the new Rolling Pen designed by Ale Paul with Neon’s visual poetry by Tomás García.

Gloria Monoline is a text serif with an editorial focus designed by Ikhsan Maulana. The idea for a typography job came from a design school letter-making exercise: Get a pair of scissors and some large sheets of paper, and start cutting. The resulting letters and the act of cutting them from paper inform the type design process, resulting in strong, simple shapes and open, inviting textures. The tone is crisp and straightforward. The classic letterforms, with a playful touch, give the design a personality that is both practical and spontaneous. The text weight is capable of adjusting copies at various sizes to print and render clearly on screen. Its lightest and heaviest weights work best at display sizes. Great care has been taken to save typists time with OpenType features including contextual punctuation and symbols to match case-sensitive, lower-case, and all-caps settings, as well as set images set for each use.

Delight Muffin is a display serif font in thickly designed weights for modern, friendly, and stylish design purposes. Generally, every letter of this font is in rounded shapes with a few spaces given. The top and the bottom parts of the letter are the thinnest ones with hardly invisible differences between the thick and the thin lines, which contrast the low lines. With Delight Muffin’s legibility, it is possible to use the font in various text sizes. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Delight Muffin fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. 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 experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.

Rahere Sans Inline is a bold, no-nonsense display font featuring an inline that imbues the design with classic overtones while still looking modern. It’s imposing without being overpowering and practical but not boring. As part of the expanding Rahere typeface family, Rahere Sans Inline is specifically designed to complement both Rahere Sans and Rahere Roman Display, pairing beautifully when used for headings, stand-out quotes or drop caps. Whether you’re in design, marketing or advertising, Rahere Sans Inline is a versatile display font suitable for all types of applications including: Design, advertising - posters, leaflets, brochures, adverts, books and banners Publishing - magazine covers and editorials and book covers Music, film - DVDs and CDs Announcements - offers, events, birthdays and anniversaries Rahere Sans Inline is a capitals-only font with small caps in the lowercase slots and matching numerals, plus a few ligatures. The following languages are supported: Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

In 2002 Matthew Carter was commissioned to create a new design to be cut in wood by the then nascent Hamilton Wood Type Museum. This was significant in that this was the one format for which Carter had not yet designed type. The new design emerged as a two-part chromatic type to be cut specifically in wood. Originally called Carter Latin, the font was renamed Van Lanen after one of the Museum's founders. The first cutting and printing of the type took place in late 2009 and although it has been available through the Museum, contemporary wood-type production is expensive and few have acquired this font in wood. The digital version of the pair of Van Lanen fonts is now available. The design recalls Antique Latin wood type, but with a refined sensibility and intentional quirks (like the sideways ampersand). It is a wonderful addition to Carter's oeuvre, and to the ongoing history of wood type.

Roughwork was developed in response to repeated requests for a set of initials which looked like sketches of a font in development. So we took our True Golden font and reverse-engineered the lines and arcs needed to define the character shapes and the result has the look of original typeface drawings.

This font contains images in two variants, that is: tiles (seamless, endless) and dingbats showing plants, leaves, blooms, frogs, butterflies and ants. Note: Please be aware that you may need to prepare those patterns in order to work with them in CAD-CAM or if you intend them for bolt cutter etc.

From the title screens and comic books of the Hair Bear Bunch comes the fun and funky Wonderbear typeface. All that 70’s flavor packed into a Caps/Alt Caps typestyle reminiscent of a lovable limited run cartoon show. The Hair Bears miss you as much as you miss them. Relive the laughter.

Pacifista takes advantage of the well-tested structure of our constructed typefaces, the directness and simplicity of which are by far the best suited to stencils. Straight lines, regular arcs and purity of drawing facilitate maintaining the maximum possible legibility even in a typeface that is practically devoid of any joining of strokes.

Caupako is a display font. Inspired by the shape of the axe. Nostalgia on the legendary old action film. A young man armed with a deadly axe. Comes in two font styles, regular and oblique. Caupako comes with 400+ glyphs, which also include multilingual languages. It's perfect for headlines, branding, and many more.

Yahosch replicates informal hand writing. The typeface is based on egg-shaped circular elements, with the larger part of the oval on the bottom. It comes in three weights, each with an italic style. The regular is very readable even at smaller point sizes where it appears much like neat hand printing.

Lichtspielhaus is an ultra condensed Lichtspiele spin-Off with 8 weights. It still transports you back to a time where neon lights and marquee letters decorated cinema facades. There are 8 styles: Hairline, Thin, Light, Regular, Medium, Bold, Black and Heavy. "Lichtspielhaus" is the first part of a new Type Noir Quadrilogy.

Inspired by food labels, signs and coats of arms, PR-Scrolls is a collection of images which can be used for framing text in contexts where antiquity, craftsmanship, or traditional quality are conveyed. There are several sets of glyphs which work together to make a variety of shapes, or banners of custom length.

Embossanova was initially sketched to be a monospaced typeface but quickly took on a life of its own. It developed serifs and numerous arcs and stroke weights. I wanted it to retain a pre computer/unmathematical feel so there is a slight variation on curved characters and their relationship to the X height.

ZAP is an all-caps monospaced and (almost) monolined typeface family. ZAP comes along in square and round shape, 2 widths (ZAP 360 and ZAP 500), and 8 weights. ZAP also offers Slant and BAckslant styles. ZAP covers multiple languages with Extended Latin. Even complete Greek alphabets are part of the ZAP keymap.

Morning Paper JNL is part of a small series of fonts re-drawn from screen captures of original vintage newspaper headlines. The typefaces are classic wood and metal faces that were popular in all forms of print of the time. This sans is a companion to Final Edition JNL and Evening Paper JNL.

KyivType Sans is a part of the KyivType superfamily, consisting of three subfamilies: Sans, Serif and Titling. Also available KyivType Variable superfamily. Initiated by Projector, Dmytro Bulanov Creative Büro, and Banda Agency for Kyiv city (Ukraine) identification and promotion. Freeware. Fonts are free for commercial and non-commercial use. More at Behance.

KyivType Sans is a part of the KyivType superfamily, consisting of three subfamilies: Sans, Serif and Titling. Also available KyivType Variable superfamily. Initiated by Projector, Dmytro Bulanov Creative Büro, and Banda Agency for Kyiv city (Ukraine) identification and promotion. Freeware. Fonts are free for commercial and non-commercial use. More at Behance.

Fostone is a signature style font with a natural looking ballpoint pen. Luxurious and elegant font. Font family with 4 version: regular, bold, italic, bolditalic. This signature font is perfect for, watermarks, branding, business, business cards, product logos, etc. – Font feature Uppercase, Lowercase, Numerals & Punctuations, Stylistic Alt, swsh (ending swash), Ligature, Multilanguage

KyivType Sans is a part of the KyivType superfamily, consisting of three subfamilies: Sans, Serif and Titling. Also available KyivType Variable superfamily. Initiated by Projector, Dmytro Bulanov Creative Büro, and Banda Agency for Kyiv city (Ukraine) identification and promotion. Freeware. Fonts are free for commercial and non-commercial use. More at Behance.

Typical of early 1800s newsprint type, Americanus and Americanus Italics have three historically accurate ornaments and discretionary OpenType features for commonly used ligatures like ct and st. The Americanus Ornaments package contains a wider selection of authentic antique ornaments and border elements and is included as part of the Americanus Family package.

Dead Mementro typeface (ex Dead Metro) has simple and strong shapes. It is a little bit narrow sans serif typeface with brutal constructions of characters. The first edition of typeface — Dead Metro — was realised in 1998 as the part of Garbage Type Foundry project. Now Dead Mementro has more characters and styles.

Rigo™ is a flexible family of modern sans serif. Rigo is characterized by some humanistic characteristics, its open part of negative space and its overall width make it highly legible and readable at small to large size. The openness helps Rigo to be a good performer on the screen as well.

Montecatini takes its cues from the elegant Stile Liberty travel posters of Italy in the early 1900s. In its successful first release by Louise Fili Ltd in 2017, the typeface introduced distinctive ligatures typical of the time when Art Nouveau emerged as a worldwide phenomenon. Now Montecatini has been expanded into 24 alluring styles, spanning 6 weights and 4 widths. With the addition of these new styles, Montecatini has a dynamic capacity for comprehensive use and pairing. Everything looks better in Montecatini, from book jackets to monograms to packaging and logos—and the wide selection of ligatures, weights, and widths makes copyfitting a delight. Montecatini Pro’s ligatures are setup as contextual alternates. If you would like to try out Montecatini Pro’s ligatures or learn more about the font, please visit: https://www.louisefili.com/montecatini-pro

As with Nocturne, Dusk til Dawn recalls the romantic, sophisticated Zeitgeist of the early 20th century, that nostalgic time "between the wars". It as a number of attractive ligatures and upper-case alternates. I have used Nocturne as a basis for Dusk til Dawn, given the font really bold down-strokes, reduced the width of some upper case characters and changed the shape of many lower case characters. Dusk til Dawn comes in two styles: Dusk til Dawn Regular, which uses the Art Deco convention of small x height, and long ascenders. This Display style is perfect for headers, posters, labels etc. Dusk til Dawn Book, which, with its higher x-height and slightly wider characters, is extremely legible and suitable for longer passages of smaller size text.

Tall, thin and elegant, Marian Churchland’s fonts are very much like her.. and now available from those awfully nice chaps at Comicraft to allow you to pretend that you are too! Marian Churchland was born in Canada in 1982, and was raised on a strict diet of fine literature and epic fantasy video games. She has a BA in Interdisciplinary Studies (English Literature and Visual Arts) from the University of British Columbia, and has been doing professional illustration work, including book covers and magazine articles, since she was 17. Last year, she became the first woman to solo-illustrate a CONAN story, and this year she’s illustrating three issues of ELEPHANTMEN for Image Comics. Artwork by Marian Churchland from Elephantmen #20. See the families related to Marian Churchland Journal: Marian Churchland .

Another 48-cut family from a typeface system which originally arose from the need to simply explain to some publishers what it is “serif, sans-serif, egyptian”, etc. including their style variations. Over time, the Trivia became quite popular, which was her goal. Now is the opportunity to explain what it is “grotesque.” Grotesque in art is generally synonymous with bizarre, repulsive impropriety, but also surreal abomination exciting an empathic pity. These are qualities that undoubtedly attract the viewer’s attention since the days of Gothic gargoyles, stone gorgons and chimeras. Grotesque font is unlike the cold sans-serif much warmer, more appealing for the title, poster or advertisement, and is usually given in a variety of widths and weights. With our Trivia it shares basic proportions and OpenType features.

AltraTwo is a complete redraw of a family based on a tracing of a clip art font from an old printed book. The AltraTwo family adds italic, black, and black italic. I liked the gentle calligraphic look. Consider it a sans serif with style. This is a typical NuevoDeco OpenType pro font with caps, lowercase, small caps, lining, oldstyle, and small cap figures, numerators, denominators, fractions, swashes, and so on. There aren't many unusal ligatures for this one, though. It does have the Latin 2 character set or what Adobe calls CE, Central European characters. Altra has been my preferred header face for sevral years. it also works very well for body copy. I usually use it for my contrasting tip and quote paragraphs with Bergsland Pro as my normal body copy.

P22 Kelly is a Celtic-styled uncial font with a medieval gothic flavor and an overall contemporary feel. The font is an addition to Ted Staunton’s collection of historical and period-based fonts. It is ideal for uses that need to evoke the Celtic spirit or the medieval period. Based on half-uncial Irish monastic handwriting of the 8th to 10th centuries, but instead of having a traditional upright stress, has an italic slant. Some Gothic influence is evident—like the thorn-like tick-marks decorating the capitals—but the rounded forms of h, m, n, u emphasize a wide, open, horizontal visual texture. The font is named in honor of the Book of Kells, the 8th-century masterpiece of Celtic calligraphic art, which is kept in Trinity College, Dublin.