Barrowboy was inspired by the handwritten sales tickets that are still to be found on market stalls and fruit barrows, and are as familiar as the street cries that accompany them. The signage is mostly confined to numerals, so translating it into a font is pretty much a work of imagination. See also my other fun fonts Bebopalula, Calypso and Pier Arcade.

Here's a new take on an old dry-transfer standard from the 70s named Barrio. This unicase version features several handy ligatures not found in the original typeface, which will substitute in OpenType-savvy applications when the lowercase combos are typed. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Save time and effort – choose your type wisely. Use Taurus and you’ll achieve impact without having to resort to cheap tricks. We have done the work for you: just type out words using Taurus and you’ll have a logo for a Wall Street law firm – or for that precious vintage Barolo.  
 Refinement. Sophistication. Seriousness. Sex appeal. Taurus has it all.

A Lost Art Deco Style Reborn and Multiplied Rhumba began as a digitization of a film typeface from LetterGraphics in the early 70's known as "Barrio Lined". Originally only a single typeface, represented by our Rhumba Lined style, it was fun and offered more diversity to expand out the styles of this gem. Playing off the stylings of fonts like Prisma, Rhumba fills in gaps between the various lines of the original to offer 3 alternate looks. The Rhumba family contains 382 characters per font. A comprehensive character map preview is at the end of the poster graphics collection.

Northwoods is a simple, handwritten sans serif font family designed by Cindy Kinash. This family includes five weights and italics. Northwoods is a little different than most sans serifs being that it’s handwritten. You can use the fonts in multiple ways such as in design or textually. Try the bolder weights for display text and the lighter/italic weights for textual purposes. Northwoods is great for packaging, magazines, layouts, web design, corporate identity and marketing. Posters designed by Henry Barros.

Assemblage Designed by Daniel Hernández, Alfonso García, Bruno Jara Ahumada and Luciano Vergara. Thanks to Pedro González for his contribution in the initial stage of the design process. Assemblage is a typeface-inspired by Roman square capitals-that comes in 6 different weights and ranging from Thin to Black. The background of the typeface makes it well-suited for branding, short text, titles and complex compositions, thanks to its italic version. Contrary to some conservative fonts, Assemblage includes an italic version with a look based on Elzeverian and Dutch Barroque typefaces, what gives the font an extra dash of elegance, resulting in a very enjoyable design. The family was specially created for labelling wine bottles and general packaging. Assemblage is a font collection consisting of a Sans Serif plus an Italic version of classic features. The family comes in 6 weights and includes ligatures, caps and small caps plus 3 sets of smaller small caps for different kinds of composition. The Italic version-with strong decorative features-comes with swashes. Assemblage also includes a set of dingbats, especially designed for packaging as well as for publishing or branding. The Sans contains 979 characters and the Italic version 620 characters. Assemblage supports 212 different languages and its OpenType features include ligatures, semi oldstyle figures, 3 sets of ornamental small caps (in the Sans version), swashes, ending forms and alternates in the Italic version.

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

While researching the history of Onitsuka Tiger's branding and graphic design, I came across an odd, yet highly appealing piece of custom lettering on the company's ONICK ski boots from the 1970s. Reminiscent of aspects of the typeface Black-Out by Eli Carrico (released by my type foundry Wordshape), yet vertically compressed with razor-sliced counters and odd stencil element that makes up one of the legs of the "K", the ONICK lettering is a potential source for an intriguing modular font. I immediately thought of Ryoichi Tsunekawa as a potential collaborator to bring this piece of lettering to full-fledged life in the contemporary context. Based in Nagoya, Tsunekawa runs an independent type foundry called Dharma Type, including three specialized foundry sub-labels: Flat-It, devoted to display lettering; Prop-A-Ganda, a series of fonts inspired by and based on retro propaganda posters, movie posters, retail sign lettering & advertisements in the early 20th century; and Holiday Type, a series of decorative and retro scripts for holiday use. The past year has seen a flurry of notice of his work abroad, having been featured in both MyFonts' "Creative Characters" and YouWorkForThem's newsletter. As the work of most Japanese type designers is almost wholly unnoticed abroad, for Tsunekawa to be interviewed by two of the most popular type distribution companies in the world is definitely something beyond the norm. Perhaps it is because he works independently, or perhaps it is due to the charm and friendliness with which his typefaces are infused. Either way, this attention is both welcome and appreciated. Beyond mere charm, Tsunekawa's work is nuanced, detailed, and accessible due to its high level of finish. His fonts stand apart from his contemporaries in Latin typeface design in Japan due to his fascination with pop, vernacular and historical lettering from "non-pure" sources- whereas type designers like Kunihiko Okano and Akira Kobayashi have spent years analyzing the essence of Western letterform construction and unlocking the essence of Latin forms, Tsunekawa views surface and the awkward nature of his sources as being of value, as well. His irreverence for the formal doctrines of history imbue his typeface designs with a rugged inventiveness that would be missed by most- glyphs without source designs are guessed at and approximated, often in a manner wildly divergent from what Western eyes would assume. It is in these moments that I find sheer delight in Tsunekawa’s work and what make me most pleased to invite him aboard Neojaponisme and Onitsuka Tiger’s type development project. His assorted typefaces show an eclecticism in finish and as holistic systems- Tsunekawa's return email to me about the proposed type project showed a digital sketch of how a completed typeface family from the source lettering might look, rendered with an effortlessness and dedication to detail that belies a skilled craftsperson. Further development showed Tsunekawa’s rigor- the typeface in development rapidly featured glyphs ignored by many: a full set of fractions, Eastern European diacritics and accents, superior and inferior numerals, alternate characters, and custom ligatures - all designed with regulated, detailed spacing. ONICK is a typeface Tsunekawa should be proud of- an homage to a moment in history rendered in the absolute best fashion. We are proud to present it to the world! --Ian Lynam

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.

Ceundah font is inspired by thick and thin Hand Sketches. This font can be used for film titles, magazine titles, newspaper front pages, billboards, or company brands.

Searching for a font that resembled true children's handwriting, this font's creator designed a font from his own first grade penmanship assignments. Ideal for anything related to children.

The Vale Press was a contemporary of Willam Morris's Kelmscott Press. The types used by the Vale Press were designed by artist Charles Ricketts, who also supervised the design and printing of Vale Press books. The main type used, Vale, was based on the Jenson 15th century roman type style. The King's Fount was an experimental semi-uncial font based on the Vale type. The King's Fount was designed in 1903 for the Vale edition of the 15h century poem "The Kingis Quair". This semi-uncial font evokes old English and Anglo-Saxon lettering. P22 Vale Pro combines the two fonts P22 Vale Roman and P22 Vale King's Fount into one "Pro" font. This pro font also includes a Central European character set, old style figures, fractions, ornaments and a special faux "Middle English" feature to make "anee text appeer Olde." This feature is not known to exist in any other font.

Hyomenha is an elegant script fon and handwritten font. Its natural and unique style makes it incredibly fitting to a large pool of designs.No matter the topic, this font will be an incredibly asset to your fonts library, as it has the potential to elevate any creation, this font was designed to enhance the beauty of your projects.

Anttalla is modern script calligraphy font, include front swash and ending swash for lowercase glyph, combine it to make the best word for your design. Anttalla font perfectly match for design like banner, book cover, t-shirt, branding, promotion, social media post, quotes, wedding, photography and more. Hope you enjoy with our font! Attype Studio

Be a trendsetter and get prominent with the best style from the Finest Romance. Finest Romance is a duo font from mixtures of serif and script fonts. This harmonic duo font work hand in hand to produce marvelous designs because it expresses modernity, elegance and a little romance. Additionally, the geometric serif font’s letters are simple and consistent for a great legibility purpose. On the other hand, the script font’s letters are designed to be similar to a handwriting by adding more variations to the letters with curves and final swinging wipes. You can use this font together or separately based on your necessity. With this font’s amazing features, you can enhance your design products. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Finest Romance fits for various design projects, such as posters, banners, logos, magazine covers, quotes, name cards, invitations, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Hopefully, you have a great experience using our font. Feel free to contact us if you require more information when you are dealing with a problem. Thank you. Happy designing.