Wordwalker is a freehand casual marker script that designed to appear as if it was written by wide marker. This original look will appeal to a wide range of crafty ideas, from letterheads and titles, to stationery. A clean legible style yet friendly & fun. Wordwalker features extended characters, containing West European diacritics & ligatures, making it suitable for international environments & publications.

Crem is a big Slab Serif font family with gentle minimalistic forms. Variability of styles allows you to experiment very widely with moods Crem reflects. Perfect for use​ in magazines, posters, logotypes, quotes, invitations, flyers, greeting cards, product packaging, book covers, etc. Crem Slab consists of 14 styles total, has wide language support and dozens of ligatures. Hope you'll enjoy using Crem Slab!

TWT Pavane is based on the calligraphy of Art Nouveau designer Rudolph Koch. Chelsea Studio is based on hand lettering from architectural sketches by Charles Rennie Mackintosh.

Alt-Gotisch Verzierte is a typeface of decorative initials that is Victorian in style and bears a close family resemblance to the many ornamental tuscans cut throughout the nineteenth century by British foundries. Instead of the bifurcated terminals of the archetypical tuscan (see Figgins Tuscan by HiH or Stereopticon by Dan X. Solo), these letters display what Nicolete Gray might call a “wedge and bite” design -- as if they started with the wedge serif of a latin form and someone came along and took a perfectly round bite out of the wedge. We need not dwell on the lack of teeth marks. The calligraphic curls and flourishes are often graceful, sometimes a bit contrived, but always complex. There is a busyness that marks the style of the period. If you ever see an old photograph of a well-appointed Victorian parlor, you will recognize that same quality of busyness. Overdone is a word that frequently comes to mind. Alt-Gotisch Verzierte means “adorned or decorated old gothic.” The typeface is attributed by Alexander Nesbitt to an unidentified German foundry of the nineteenth century (Decorative Alphabets and Initials, Dover, New York 1987, plate 92). The designer is unknown. Our font is supplied with a lower case that is similar to the upper case, but is 15% shorter and is simplified by the omission of the decorative vines. For the lower case, alternate letters A, E, & T; and ligatures LE, OT & LY have been supplied. In addition, a few small decorative vines were planted here and there for optional use. An accented upper case is not part of the original design and is not here supplied. This design is also seen under the name “Sentinel” -- as always, it is worthwhile to compare the completeness of the character set and the faithfulness of the rendering. We believe you will agree that we provide a balance of quality and value that is unmatched in the contemporary marketplace. Alt-Gotisch Einfach is a simplified version of Alt-Gotisch Verzierte. The vine-less lower case of the Verzierte font is the upper case in Einfach. For a lower case for Einfach, the letters were further simplified by stripping away the three-dimensional outline, down to the bare bones and bites, as it were. Einfach, in fact, means “simple” or “plain.” It is interesting to note that this bare bones & bite lower case bears (I have a special license to use two homonyms in the same sentence) a striking resemblance to the 15th & 16th century ornamental letters from Westminster Abbey shown in Plate 47 of Alexander Nesbitt’s Decorative Alphabets and Initials (Dover, New York 1987).

Whomp takes its inspiration from the work of an American master in sign painting and alphabet manipulation: Alf Becker . In 1932, Becker began designing a series of alphabets to be published in Signs of the Times magazine at the rate of one alphabet per month. Nine years later, 100 of those alphabets were compiled in one book that became an enormous success among sign painters. In the late 1990s and early 2000s, many Alf Becker alphabets were digitized with blurbs that falsely credit an “Alf Becker typeface”. Alf Becker was not really a typeface kind of guy. He was more of a calligrapher and sign painter. His alphabets were either incomplete or full of variations on different letters, and didn't become typefaces until the digital era. This particular Becker alphabet was quite incomplete. In fact, it wasn't a showing of an alphabet, but words on a poster. Alejandro Paul took the challenge of drawing, digitizing, restructuring, and finally building a complete usable typeface from that partial alphabet. He then extended his pleasure by once again playing with the wonderful possibilities of OpenType. Whomp comes with more than 100 alternates, tons of swashy endings and ligatures, all built into the font and accessible through OpenType palettes in programs that support such features. This is the in-your-face kind of font that stands among other Becker-based alphabets as paying most homage to the vision of this great American artist who saw letters as live ever-changing beings. Whomp is right at home when used on packaging, signage, posters, and entertainment related products.

Annlie™ Extra Bold and Annlie Extra Bold Italic are two display faces designed by Fred Lambert in 1966 for the Annlie type family. These two samples from the Annlie family are both fat faces. Fat faces were offshoots of the modern, or Didone, typefaces that were de rigueur during the early 1800s. These fat faces were among the first typefaces to be used solely for advertising purposes. Naturally, they were always used in larger point sizes, in display functions. Annlie could be called an optimization of these old advertising typefaces. With high x-heights, ultra contrast between thick and thin strokes, and perfectly engineered drawing techniques, Annlie is a highly crafted typeface. Give it a spin in your next advertising campaign! Annlie’s fine thin strokes are very graceful in their appearance, and lend a strong, yet soft, feminine feeling to anything they touch.

Introducing Ruminate - serif typeface - regular and italic fonts Ruminate is feminine and elegant typeface with multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol 3 fonts - regulat, alternate, italic alternate glyphs Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Avarice - serif typeface | 4 fonts Avarice is long and elegant typeface loaded with 4 fonts and multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol Regular 2 alternate styles italic Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Rabble - display typeface - 4 fonts Rabble is fragile and vintage typeface loaded with 4 fonts and multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol Regular 2 alternate styles Italic Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Footle - serif font Footle is gentle and elegant font combined in it regular and italic styles, loaded with multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, numeral, punctuation & Symbol Uppercase letters - regular glyphs Lowercase letters - italic glyphs Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Gleed - serif typeface - 3 fonts Gleed is versatile and minimal typeface loaded with 3 fonts and multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol Regular Alternate Italic Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Dree - typeface - 6 serif and display fonts Dree is creative and minimal typeface loaded with 6 fonts and multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol Serif and Display Alternate Italics Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Alora - serif typeface - 4 fonts Alora is elegant and fragile typeface loaded with 4 fonts and multilingual support. It's a very versatile font that works great in large and small sizes. Alora is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol Regular Style 1 and 2 Italic Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Tweedle - Display Typeface Tweedle is creative and elegant typeface loaded with 3 fonts and multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol Regular, alternate and italic versions Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Hell Fire is a hybrid of traditional early sign painters block and a hint of urban modern day culture.

This classic title font has a wide proportion and minor contrast to make it the ideal choice for headlines.

Introducing Fire Hell – a fiery font inspired by the intensity of death metal. With flames dancing within each letter, this font is tailor-made for death metal, black metal, gothic, horror, and other heavy music genres. The sharp, angular design adds a touch of darkness, making it the perfect visual companion for bands seeking a fierce and impactful typographic identity. Unleash the power of Fire Hell to set your artwork ablaze and embody the relentless spirit of heavy music. Ignite the darkness with this visually striking font! Fire Hell features: Allcaps Beginning Uppercase alternate Ending Uppercase alternate Numbers and punctuation PUA Encoded Characters OpenType Features

Cusp is a display font that was initially inspired by austere Art Deco lettering. After the capitals were refined, then the lowercase was designed with a bit of techno flair. From these basic letterforms a variety of styles were created, ranging from the rigid DeStijl to the whimsical Loose. The result is a versatile display font family that allows the user to mix, match, and overlay the letters for a dynamic effect. In-fact 2 overlay fonts were designed specifically so that one can create graffiti-like multi-layered effects. Cusp is a super-kawaii display family of 16 fonts plus 2 overlay fonts.

Punkaholic started out as a loopy, all caps display font with a semi condensed feel. Before completion some of the letters such as A and W were given a more traditional look and were penciled in for alternates. In the end, however, they were added as uppercase characters instead. For this reason most words in lowercase vary in appearance from their uppercase counterparts. This dichotomy between straight lined capitals and rounded ones makes for some interesting contrasts. Punkaholic works best in less formal settings such as café menus, t-shirts, or children’s publications. It comes in 3 styles and contains Latin, extended Latin, punctuation, and kerning.

Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms. Maestro is the font that Arrighi and his colleagues would have made if they had had digital technology. Like the calligraphic system of the papal chancery on which it is modelled, it was not drawn as a single finished alphabet, but evolved from a confluence of script and Roman; the script is formalized by the Roman to stand proudly in a world of type. Maestro came together on screen over the course of several years, through many versions ranging widely in style, formality, width, slant, weight and other parameters. On one end of the spectrum, looking back to tradition it embodies the formal harmony of the Roman capitals and the minuscule which became the lower case. On the other it is a flowing script letter drawing on the spirit of later pointed pen and engravers scripts. As its original designers intended, it works with simple Roman capitals and serifs or swash capitals and baroque flourishes. The broad pen supplies weight and substance to the stroke which carries energy through tension in balanced s-curves. Above all it is meant to convey the life and motion of formal calligraphy as a worthy counterbalance to the stolid gravity of metal type. The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. For more thoughts on Maestro, its background and character sets, please read the PDF accompanying the family.

AZ Imperial font was inspired from miscellaneous vintage tin packaging. Complete with an "old look" to the line work with barely a serif still visible. Ideal for use as headline or sub-head text in you design.

Rackham Italic is based on the hand lettered titles of Arthur Rackham from the book English Fairytales. The Rackham font is based on his more familiar title lettering style.

It's a very happy day when we stumble upon beautiful alphabets that were never digitized. It is even a happier day when the beautiful alphabet finds its way to us through friends and people who like our work. Some two months ago, the forms of this gorgeous font were pointed to us by a friend who saw it in an old Dover Publications specimen book showcasing historical alphabets. It was there under the name Vanessa, with nothing else to go by. We looked and researched for further information but found nothing else. So this gem comes to you like a coal that winked its way out of the ashes because it wanted to shine again. Flirt is very authentic art deco with a noticeable element of artistic pride, swashy delicate majuscules and very aristocratic, fashionable and flirty minuscules. The majuscules can be used as every other capitals usually are, or as initial caps. The minuscules can very nicely stand on their own quite independently from the caps whenever desired. These letters are quite similar to the hand lettering used on of the kind of theater posters, specifically burlesque and opera entertainment, which are now considered very retro-chic and fashionable to see hanging on walls in home or office. The initial specimen we worked from showed a single basic art deco alphabet with numerals which seemed as they belonged to another font. That alphabet became the base Flirt font, the numerals were redrawn to fit much better with the minuscules, and the character set was greatly expanded to include punctuation, accented characters, and many many alternates, especially for the majuscules. Majuscules with a descending right vertical stroke were a common artistic touch in the high days of theater posters, so we thought they would be great additions to the character set. These alternates can be found all over the font. So to maximize the design fun, have a character map or glyphs palette handy when you use Flirt. After the base font was finished, we thought it would be a good idea to give it a bold treatment unlike anything seen out there, and the farthest thing from the mechanical bolds seen everywhere now. This bolding treatment consisted of thickening the lowercase's vertical strokes inwards, but leaving the horizontal stroke weight as is, and thickening only the thicker vertical strokes of the uppercase. The result is quite the visual feat. We encourage you to test both the regular and bold weights and see for yourself.

Solid all caps display font with a hint of retro expression. Wide language support including complete set of Cyrillic characters.

If you were a superhero, wouldn't you want your unitard to sport Set Theory, big and bold, on the front?

Vast and untamed, the American West once stretched as free and wild as imagination itself. Still beautiful, the Wild West of long ago and the new West of today is now to be found in insigne’s new face, Plathorn. That’s right, folks. When the West called, Jeremy Dooley reached up like Pecos Bill, grabbed it by the reins and pulled it in, then using its wide, roaming elements to design this functional font that still has an unbroken spirit burning deep inside. This down right, no-nonsense, orthodox face leaves off any of that extra fancy stuff that doesn't belong on a ride. Plathorn comes with a family of cowhands as wide as the Rockies, bringing specifically tailored condensed and extended sub-families along with it too. By design, it’s not very obtrusive like its unorthodox reversed tension brethren. Leave those for the next font rodeo. This mount features barely a hint of a serif that hearkens back a hundred years or so to sign painters and package lettering artists of early twentieth century. They're sure to put the sharpness, gumption and grit you need into your copy. So grab a tall glass of Plathorn and drink in the deep taste of America’s big country. Put it in your next magazine. Put it in your brand. This typeface’s offbeat appeal is bound to bring a bit of wild U.S. to your free-spirited work.

The Bix Bats symbol family was developed in 2003 by Argentinean designer Victor Garcia to complement his display text font Bix Plain. Bix Bats contains four different symbol fonts. Most of the characters in these fonts have their lower halves reversed out. Typing a line of text in these symbol fonts, or mixing these symbol fonts with Bix Plain, will create a very interesting text effect: the bottom half of your lines of text will be reversed out, on top of a colored bar. Bix Bats Arrows contains numerous possible arrow combinations, from archery references to the American recycling symbol. Bix Bats Funny includes all of the symbols needed for a party, from beer steins to bunny rabbits! Bix Bats Shiny has enough starbursts to light up a night sky, and in Bix Bats Wired you will find all of the technological accessories needed to be in the now. All four fonts are included in the Take Type 5 collection from Linotype GmbH."

AccruedInterest is an all caps font with hollow letters, the outlines of which were roughly drawn with a calligraphic pen. The serifs are large and round. In a revision in 2019, the insides of the letters were separated out to allow easy bi-colored lettering when using layers. This inside style can also be used alone if one needs very sloppy and loosely-spaced text.

Brasílica is a robust design, with wide proportions, that assimilates influences both from old style and modern types. This wide shapes, as well as the moderate contrast and sturdy serifs make it suitable to different conditions of printing. The sharp corners, as well as the abrupt connections and terminals are remarkable features of this typeface, that renders a sturdy and crisp texture, with a distinct aspect.

Sheet music featuring a song from the 1933 film "Torch Singer" starring Claudette Colbert was the basis for Dine and Dance JNL. A multi-line Art Deco design, it epitomizes both the typographic style and the night life of the time, when supper clubs featuring big bands were at their peak. Torch Singers were female vocalists who typically sang melancholy love songs of lost love and heartbreak.

With electronics taking over virtually every aspect of manufacturing, packaging and shipping, it's almost difficult to envision a time when wooden crates were marked for identification by using brass stencils. Many of these stencils were hand-cut or manufactured with special punches that perforated the brass sheets with pre-formed letters and numbers. One such stencil was the design model for Marking Stencil JNL.

Introducing, a casual and powerful wide sans, Downey Font Family! Downey is a casual and essential all caps sans. With slightly wide form and strong look, this font will suitable for your any project and designs. You can use it for a tittle, logo, quotes, or become a pairing with any font. This font also contain the outline version each weight. This font also support multi language!

This set of initial letters was inspired from French renaissance decorated letters. Unfortunately, we don't know where they were in use, or who was the punchcutter, our models were coming from a late XIXth century copy. Note: The letters I and J, U and V are not different. It is not a mistake, but it is the exact reflection of what was customary during the period.

Commuters Sans is a daily type. Classic but Modern. Very simple geometry and wide type with warm clearness. Useful for both body-text and titling by their minimal glyph shapes and slightly wide and eye-catching proportion. Consists of eight weights and their matching italics. Supporting almost all latin languages. All-caps text for one line or a few is as wonderful as normal mixed-case typesetting.

Punch Tape JNL emulates the old-style pin-punched paper tapes that were used in everything from ticker tapes to moving electronic signage to early digital typesetting equipment. Pin punch characters were also used in the early days of banking as a secure way of canceling a check so that it was rendered useless if re-submitted. In this version, the "dots" are square rather than round.

Bebas Neue Rounded is the Bebas Neue with rounded corners and terminals. As you know, Bebas Neue is the most widely used free font recently. This rounded version is the new style for more widely use. The basic theory and proportion are same as Bebas Neue but rounded shape gives a warm, soft and natural impression. Softer impression than Bebas Neue SemiRounded. Available at an affordable price.

Miniver was inspired by a trip made to the library, looking for new ideas. Immediately gravitating towards the DVD for the 1942 film Mrs. Miniver, the hand-lettered title on the cover had a very contemporary look and feel so, there was the 'springboard' into a new font. First drawn were the inline forms and then they were traced, utilizing a playful 'cutout' effect.