Maecenas is an elegant professional. It stands out from other typefaces due to it’s timeless style and versatility. It will add smartness to all texts, regardless of the user’s expectations. In a quick and flashy way it will make an impression on anyone, who requires from his tool character and reliability. Maecenas won’t be lost in the crowd, and thanks to it neither will you. This font, marked by chivalry, is an AUGUST friend for good and bad. Light and bold weights, due to their strong personality, are perfect for display uses. At the same time, Regulars create a harmonious structure that provides excellent legibility in long texts. Maecenas covers all latin languages and cyrillic. It contains a wide set of numerals, small capitals, fractions, ligatures and other OpenType goodies.

Have you seen that new font from Comicraft it's lovely isn't it all soft and spongy it fair warms the cockles of me heart Mrs Robinson at number forty three she has one she got it down at the store on the corner you know the Indian convenience open all night my Albert gets his Heineken down there late of an evening and you know what I saw all manner of strange people down there last week super heroes I think they were Blimey!

At Comicraft we're always looking for new ways to help our loyal customers get more bang for their buck. There are times when when the big financial institutions turn their backs on the average working Joe, but that’s why we want to help you restructure your finances, renegotiate your commitment to font purchases... We're here to help you stretch your dollars a little further. With that in mind, our latest release is twice as wide as our usual fare and will help you make it to the end of the month in ways other fonts won't! It’s not so much a bailout or a refi... It’s more of a credit extension. I wonder what we should call it? See the families related to Credit Extension: Credit Crunch.

Darka is a splendid, mysterious dark lady reincarnated in digital vectors as an original blackletter font. Her gothic, medieval, nocturnal attributes take the form of sharp terminals, seductive curves, calligraphic flair and complex character. Darka blends the balance of Textura, the flow of Fraktur and the elegant lowercase-to-uppercase ratio of Bâtarde into a stylish, inventive typeface with a Mexican soul. Starting as a personal, calligraphic hand, Darka slowly evolved into digital type, developing alternate glyphs, flourishes and special signs to preserve its hand-written origins and delicate tension, making it an excellent display typeface and, surprisingly, even a distinctive, crisp font for short texts. Darka received an Award of Excellence at the Type Directors Club of New York annual competition.

Linotype Bengali, a revival This project by Neelakash Kshetriymayum and Fiona Ross commissioned by Monotype is at heart a revival of the now ubiquitous original Linotype Bengali typeface designed by Tim Holloway and Fiona Ross (1978-1982) based on Ross’s research for her doctoral studies in Indian Palaeography. The new Linotype Bengali is informed by more recent research by Ross and Kshetrimayum resulting in additional glyphs that serve contemporary needs in a variety of genres – the original had been specifically designed for newspaper composition and in now outdated digital formats. The new design makes use of OpenType features with the employment of contextual vowel signs for Bengali – a feature that Ross and Holloway had first introduced in Indian scripts for the Adobe Devanagari typeface – and has sophisticated contextual mark positioning. Furthermore, whereas the original design had existed in only two typestyles, extensive work has been undertaken to produce this new design in 5 weights: Light, Regular, Medium, Bold and Black. It has been an important aspect of this project to remain true to the original design concepts, and so to achieve optimal readability for sustained reading at small type-sizes, but the additional weights enable differentiation in document design, and afford users scope to produce textural variety in their outputs. This revival design is intended to widen the hitherto very limited palette of typographic choices in the field of textual communication in Bengali, Assamese and other languages that make use of the Bengali script.

Boxcase is inspired by pixel fonts from the 20th century. Instead of having sharp corners, which was a limitation back then, Boxcase comes with soft touchable corners. Diagonally chopped pixels/boxes, merges smoothly with the rest of the shape, giving a slide like feel to the letterforms.

The cover of the 1908 sheet music for "When the Meadow-Larks Are Calling, Annie Laurie" has the title hand lettered in a semi-formal Art Nouveau Roman type design with gentle spurs. This is now available as Meadowlark JNL in both regular and oblique versions.

The history of this font is those. Once I assorted the old children's books which have stayed from times of my childhood. On one of them I have seen a trade mark of a printing house consisting of two Russian letters "L" and "B". From they were begun also with my font. And though finally from these letters a little that remained, elements of these letters can be seen in font D-block B.

Ornaments family with four different sets plus a decorative capitals font from the rare, valuable and amazing Allerlei Zierat book from Schelter & Gieseck (1902). A research and free interpretation by Intellecta Design. This encyclopedic specimen book of the Leipzig, Germany type foundry and printing supply house J.G. Schelter & Giesecke features, as the title indicates, all kinds of decoration for supplying printing of every type. On the title page, the firm boasts winning grand prize in 1900 in Paris (presumably at the Exposition Universelle). It is hard to do justice in a short description to the variety of styles (traditional, Jugenstil, etc.) and categories (certificates, letterheads, borders, ornaments, exotic motifs, flowers, animals, silhouettes, menus, greeting cards, vignettes humorous and otherwise, images of bicyclists, occupational symbols, portraits, Classical figures, religious art, heraldry, ships, trains, athletes, etc., etc.) offered in this volume. Some of the examples are printed in color, most are in black-and-white. The Jugenstil cover of this copy shows minor wear and soiling. The plate of “Gust. Carlsson & Co., Stockholm” is attached to the front pastedown. A small fraction of pages show minor soiling, a pencil notation or a short closed tear. Two of the fold-outs at the back have a little more damage-one is missing a 1x2 inch piece along the margin, the other has a 3-inch closed tear and an edge which is crumpled. A rare specimen from the Intellecta rare books library.

Devil Inside is a spine-chilling display font that will send shivers down your spine. Designed in a large, bold font, this typeface demands attention and exudes an aura of darkness. Each letter is meticulously crafted with a square shape, high contrast, and haunting brush details, adding an eerie and sinister touch to the font. The large size of the letters enhances the font's ominous presence, making it impossible to ignore. The square shape of each letter adds a sense of rigidity and sharpness, while the high contrast brings an element of drama and intensity. These design choices contribute to the font's unsettling and sinister look, immersing the viewer into a world of darkness and fear. The brush details in Devil Inside give the font an organic and handcrafted appearance, as if it were inscribed with ancient symbols by a malevolent force. These haunting details add a sense of craftsmanship and enigma, creating an atmosphere of mystery and foreboding. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Devil Inside fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. 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.

The idea for Quirky was born while I was looking at a book of etchings by British artist Graham Clarke. His signature, crawling spider-like across the page, fascinated me with its casual, almost messy, inky dark and light drama. I started scribbling the alphabet as I imagined he would write it, based on his signature, then continued, adding curls, making the characters more angular, and refining the dramatic play between dark and light. Finally, Quirky appeared. Apparently casual, Quirky is, in fact, a true connected script. Quirky is characteristic of contemporary handwriting: It appears loose, angular, unstructured, and free, while maintaining good form and legibility. Its baseline is varied, creating an impression of impatient handwriting, without losing legibility. Quirky comes in five styles: condensed -- the most dramatic form, with great drama between thick and thin condensed black -- as with condensed but allows the user to provide exceptional emphasis wide -- increased readability wide black -- increased readability and emphasis splat -- messy and ink-blotted -- a hint of grunge Use Quirky for advertising, for humorous greeting cards, for a funky fashion look or tongue-in-cheek spooky media. Quirky is a fully professional font with extensive use of OpenType Ligatures. For example: most common double letter combinations such as "ee" are rendered as two, slightly different shaped "e"s. This variation in letter shapes removes the cues by which the reader identifies that he is viewing a FONT and thus conveys a strong sense of hand-lettered text. Language support includes all European character sets and has been designed to be used with the following languages: Afrikaans, Albanian, Basque, Bemba, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Ganda, German, Icelandic, Indonesian, Irish, Italian, Kinyarwanda, Luo, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Sango, Shona, Somali, Spanish, Swahili, Swedish, Swiss German and Zulu.

The title hand lettered onto the 1933 sheet music cover for “Yours is My Heart Alone” represents the classic Art Deco typographic features of unusual character shapes and widths, yet at the same time it projects simplicity in geometric design. This served at the basis for Deco Diva JNL, which is available in both regular and oblique versions.

Mark Geard’s Artemis is a contemporary humanist sans serif. Its flourishes and unusual cuts give the typefaces huge distinctiveness—yet they remain highly legible. Glyphs begin with something that resembles a serif, leading the eye across their body and on to the next letter.

Transitional serif font inspired by the italian’s lettering tradition, in particular by the street sign letters you can find around Florence. All elements are designed to be elegant and easy-to-read, even in a long blocks of text. -- The HT Fera Text is freely inspired by the typographical tradition of Florence's municipality and its streets. Letters shape, contrasts, junctions, stems, teardrops, they are all the result of careful research carried out on the Dante's streets, redesigned in a contemporary mood. -- hype-type.com / kidstudio.it

A revival of one of the popular wooden type fonts of the 19th century, suitable for display. The bold version has rounded ball shapes at top and bottom of stems as well as at horizontal strokes. The pointed version has pointed shapes at top and bottom of stems as well as at horizontal strokes. Lowercase was not originally designed for these fonts. These new versions include caps, figures and accented caps.

The character set is short but make no mistakes, it is complete. Illegible, unreadable, unusable, this overly-geometric sans adheres to a set of rules just barely allowing an alphabet. But, hey it's free.

Mirabeau Buonaparte Lamar had an exotic name for a historic Texan, but he left his mark beginning in 1836, the year of Texas independence and the first year that pioneers other than mountain men made their way West. Lamar went on to become the young republic’s first elected vice-president (to President Houston) and second president -- and to author a number of interesting letters in his elegant, stylish hand. (Mirabeau B. Lamar grew up a well-to-do southerner from Georgia, and his penmanship shows it.) One of the most interesting aspects of designing old handwriting fonts, to me, is pausing to reflect on the actual moment that the letter-writer is sitting at his or her desk or table, pen in hand, putting thoughts to words -- 150 to 200 years ago. Has a complete character set, and plenty more.

Neo Neo is the work of British designer Timothy Donaldson, a type style straight out of a 1950s time capsule. It can be set in all caps or a mixture of capitals and lowercase. The casual, slightly condensed forms with their smooth, soft lines are reminiscent of highway diners and motel ads of the time and convey a bright, inviting mood.

Fabrikat Normal is a geometric typeface which is based on 20th century German engineers’ typefaces. It is optimised for small sizes and long texts, but due to its constructed architecture it also works in headlines or display use. You can combine Fabrikat Normal with the more straight and space saving Fabrikat Kompakt or the reduced to the max Fabrikat Mono.

Beautinela Script is a beautiful mono-line font, perfect for logo design, branding, clothing design, signature, posters, wedding invitations and so much more! My goal with this font was to create an easily legible script font which would work for a wide variety of purposes. This font retains my personality within the characters as they were initially based off my own handwriting and later tidied up to create a set of consistent characters. Having that handmade feel and personal touch certainly gives it a hint of authenticity.

CyberNippon is a unique latin script font that references Japanese and Cyberpunk motifs. Literal translation of the name "Cyber ​​Japan" This typeface took many months to complete and was inspired by the style and mood of cyberpunk, for whom Japanese culture is very close. Since the Japanese are inherent in perfectionism, while working on this font, I brought everything to perfection. The result of all the work was, in my opinion, a font that was perfectly verified and worked out for many hours. The main motives that are visible in this work are the modern interpretation of the classic Japanese hieroglyphic systems - hiragana and katakana. Originally, the font was completely handwritten using a calligraphic pen, and then converted to digital format.

You can hear the wheels of imagination turning within this font - Grit Gothic, from Grit History™ B Series, by Baseline Fonts. Both highly stylized and very legible, the extreme height of this font can give even a goblin vertigo. Extended X heights create lowercase that adventurously reach up through extended shoulders and spines while persistent grunge warns of skinned knees that may result along the climb. It’s easy to envision children’s rallying cries in Grit Gothic, perfect for book titles, film titles, poster headlines, and any other epic that needs a strong font with a dark edge of mystery and wonder. This font is rife with personality, including large and daunting punctuation, whittled wood-look vertical bars that berate and argue with beveled bowls, ascenders that attempt to intimidate one another with their height variances, and tittles that bully one another, as they're a variety of context dependent sizes. Grit Gothic is available in Regular and Bold with full Greek-lettered foreign language support.

Norwich Aldine ML is a all-cap typeface with enlarged serifs, designed and produced in wood by William Hamilton Page of Norwich, Connecticut in 1872. Norwich Aldine ML is a fine example of the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for a simple, visually strong typeface. Although about 14 miles inland, Norwich, Connecticut lies at the head of the Thames River. The river is both wide and deep, and therefore was not bridged in the early 20th century. Until then, if you wanted to get from Groton on the west bank to the whaling port of New London on the east bank by land, you had to go by way of Norwich. Because of its size, the Thames is navigable all the way from Norwich to New London. Docks were built in Norwich around 1685 and the city became Connecticut’s 2nd largest port by 1800. With the construction of the Norwich & Worcester Railroad in 1835, Page could easily ship his wood type north by rail or south by coastal schooner. Included with our font, Norwich Aldine ML, are two 19th century printer’s ornaments of sailing ships similar to those that sailed up the Thames to Norwich. Reference: Moon’s Handbooks, Connecticut 2nd Edition (Emeryville CA 2004) The family has expanded from one to four fonts: 1. Norwich Aldine ML: the concept font, computer-sharp corners and smooth curves, as we imagine it was designed. 336 Glyphs including some reduced-width alternatives for better letter spacing. 2. Norwich Aldine Worn ML: the way actual wooden type would look after have been used for a while. 332 Glyphs 3. Norwich Aldine Distressed ML: the way the wooden type would look after it had really been used, perhaps abused. Alternatives to the more popular letters reflect the damage that typically occurs on a well-wormn font, with nicks, cuts and scratches and the overall wear that reduces the overall height and leads to uneven inking due to varying heights in the chase. A couple of bullets look like bullet holes. 345 glyphs. 4. Norwich Aldine Cyrillic: Cyrillic includes alll English and Cyrillic letters for MS Windows Code Page 1251, ISO 8859-5 and MacOS Cyrillic. 235 glyphs. We did Cyrillic because is was fun and we felt the basic design cried out for Cyrillic. While obviously subjective, we hope you will agree.

Aberforth is clean, mixed-case font family. It's mono-height, so it pairs well with other fonts. Family includes regular, rough, outline, tiles, and italic versions.

Yoon Backjae is a sans serif typeface consisting of 2 weights. It supports up to 13 different languages such as English in Latin and other scripts

Yoon Gogooryo is a sans serif typeface consisting of 2 weights. It supports up to 13 different languages such as English in Latin and other scripts

This African font is modern and fluid. Its name means "water" in the Zulu language, and like the deep rivers that flow through the African jungles, it contains few straight lines. Use it when you want to convey a feeling of strength combined with flexibility. Use it for headings, posters and adverts when you want to create an impact. This African font includes a full character set: - all the upper and lower case letters, as well as all numerals, punctuation and special characters. The numerals are mono-spaced so that they will line up correctly in columns of figures. The letters of the alphabet are spaced according to their width and are carefully kerned to create an attractive appearance.

Mymra fonts – an upgraded version of Mymra Forte and Mymra Mono (2009), with a careful re-dress of glyph shapes, and the extension of glyph amounts – which enables support of more Latin languages. One more weight – Black – has been added to the original three of Mymra Forte fonts. Fonts are intended for use in a vast variety of publications.

Neon Bugler Squared is a soft, boxy version of Neon Bugler, which 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, sci-fi look. It can even be used in a semi-grunge setting. This is a very versatile font! Digitized by John Bomparte.

Proudly present Microphone Check - Marker Type, created by ikiiko Microphone Check is inspired by the bold and expressive signature strokes of the 90s street hip hop movement. In that era, freestyle marking was a method of self-expression that was closely associated with the underground graffiti scene. This typeface perfectly encapsulates the vitality, attitude and resilience of life on the streets. Sharp lines with bold, bold bodies characterize this type of marker, allowing for substantial fills and bright colors to stand out on any surface. It gave them the opportunity to express their originality and creativity while leaving their mark on the urban environment. This type is very suitable for making a street wear brand, book cover, movie title, magazine layout, poster, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Alternates & Ligature Multilingual Support Works on PC & Mac

This font was inspired by the game with different signature styles! The result is a light and nice, mono linear font that looks completely handdrawn. Jingle will look beautiful on Christmas and holiday invitations, wedding invites and stationery, logos, and more. I love using it for emphasis words and pairing it with sans serifs Includes: - Ligatures - Uppercase and lowercase - Numbers and punctuation - Foreign language support Check out my blog: - www.instagram.com/dmitriychirkov - pinterest.com/dmitriychirkov7

For many decades, the fashion magazine “Vogue” featured superbly illustrated covers before photography became more commonplace. During the 1930s and 1940s those illustrations were accompanied by many creative styles of hand lettering for its monthly issues. The January, 1930 cover had the magazine’s name lettered in an Art Deco geometric monoline, which became the inspiration for Vagary JNL, which is available in both regular and oblique versions. A vagary [in a simple sense] is when something or someone changes in an erratic or unexpected way (as the wind’s direction or in a person’s mood or whim)… and thus seemed the fitting name for this type style.

Mundane information—the sort you might ignore—often appears in the form of very simple, utilitarian lettering, devoid of personality, the sort of industrial lettering you find on old blueprints, park restrooms, and electrical boxes. MVB Diazo is such a thing. It looks like lettering done earnestly with a plastic template. The monoline caps—constructed from straight lines and simple curves—have rounded details as if rendered by a blunt pen on a topographical survey or by a router on a rustic campground sign. The MVB Diazo fonts are compact, available in two widths: Condensed and Extra Condensed. Each width offers four weights from Light to Black. The fonts are perfect for wherever plain and boring letterforms are required. All widths and weights are also available in two distressed textures (#1 and #2) that accentuate the industrial character of the design. Rough #1 is gritty, with finer texture for use at larger sizes. Rough #2 exhibits more damage, the roughness apparent when used at smaller sizes. The Rough fonts include alternates of a number of glyphs so that variation of texture is possible when letters repeat in a word.

Originally issued by the Palmer and Rey Type Foundry of San Francisco in 1884, this typeface bore the name Octagon Condensed, and is as fresh today as it was way back when. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Divine Instinct is a cool, bold and authentic blackletter font. Masterfully designed to become a true favorite, this font has the potential to bring each of your creative ideas to the highest level! this font contains : custom upper cases custom lower cases custom numbers default poncuation marks

Masoud Nejabati has drawn upon his capable calligraphic skills to create this typeface. Persia represents his first latin-based design. This gentle and finely rendered script reveals Nejabati's extensive background in Islamic calligraphic art. The slight back slant further enhances the appearance of hand-scribed pen calligraphy.

First off, Slivowitz is written with a v (SlivoVitz), rather than a w, but I liked it better with a w. Slivowitz is a plum brandy from Eastern Europe. My father used to be an international truck driver and he often had to go to Eastern Europe. He took all kinds of ‘western’ goods with him to give away (plastic bags, beer, cigarettes - remember, Eastern Europe at the time was still communist!). He always came back with bottles of Slivowitz. I never tasted it, as I was too young, but I liked the name and I decided to name this font after a fond memory! Slivowitz is an easy-going handwritten script font - it looks good on fashion items, book covers and fancy magazines, but greeting cards will look just as great. Comes with a bunch of ligatures, alternates and a whole lotta diacritics!

This type of Richard Gans, has always seemed very striking, despite having the complexity of the sources extrusion, has its own personality, and readability unusual for this type of letters. Use it for composing posters, programs or logos was very common at the time. My father, Antonio Lage Parapar, typographer by profession, who composed the texts, which not only had it for profession, but he liked to do, always he spoke of sources and decorative elements of the type foundry Richard Gans, as well as other foundries, especially those that required the mender of them, exercised creator, many of these types they have already been recovered by professionals and companies with excellent results. I've been surrounded by these movable type, and the occasional catalog unfortunately lost. One of those guys that has always struck me visually speaking was the type IMAN Richard Gans, the typographer and more of German origin arrived in Spain, back in 1874, also a pioneer. This work to revive the type mentioned, as well as create non existing glyphs between documents and parts I've been finding, is and has been a personal pleasure all I want serve as a tribute to my father (of aopodo curiously "Richard"), the only sadness it has not been completed. Richard Gans, arrived in Spain in 1874 as a representative of several European factories. then liaised with journalistic and publishing companies, which led him knowledge required of the first sector art. In 1878 he created a center importer gadgets graphic arts and three years later he created his own type foundry. The first rotary newspaper ABC, very famous and the most advanced of the time, the brand manufactured Richard Gans.