Storehouse Font is an old fashioned typeface with a modern touch. Inspired by tradition, hardworking brewers and 1800s it come up with 10 strong, confident and powerful styles, included: Regular, Italic, Thin, Black, Outline, Shadow, Used, Wide, Soft and Stencil. The font looks great when put on signs, shirts or labels of the bottles. Also, it works perfect as font for a branding and commercial uses. What is included: Shapes: 1.Storehouse Shapes EPS – EPS file 2.Storehouse Shapes PDF – PDF file Fonts: Storehouse Regular - OpenType font file - Regular old fashioned typeface with a modern touch. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Thin - OpenType font file - Thin version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Wide - OpenType font file – Wide version, big spaces. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Black - OpenType font file - Extra, extra bold version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Outline - OpenType font file – Outline version of regular version, amazing in matching with regular version as a back shadow. full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Shadow - OpenType font file – Old fashioned shadow of regular version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Italic - OpenType font file – Regular version with smooth edges. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Soft - OpenType font file - full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Stencil - OpenType font file – Stencil font with amazing old fashioned modern touch. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Used- OpenType font file – Softer edges, smooth lines. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Multilanguage Support: English, Albanian, Danish, Dutch, Estonian, Croatian, Bosnian, Slovenian, Finnish, French, German, Icelandic, Italian, Norwegian, Portugese, Spanish, Swedish with a lot of other languages; see Full Character List. Note: To access the extra alternate letters, you will need to use the glyphs panel. Many design programs offer this ability, including Adobe Photoshop CC 2015 , Adobe Illustrator, Adobe Indesign. Works with Cricut, Silhouette, PicMonkey, Photoshop, Illustrator and many more applications!

Hestia is an uppercase creative font inspired by flames of fire. We've tried to create a dynamic font based on sans-serif fonts. It's works perfectly for headlines, logos, posters, packaging, T-shirts, postcards and many more. Latin-based Language Support. Happy creating!

Ready for the designs of today, the Sancoale superfamily takes a softer turn with a rounded slab serif. Crafted from Sancoale’s simple geometry, new softened slab serifs provide a lively typeface that conveniently enhances its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Slab; and, certainly, the first Sancoale. The weights of each and every member are balanced diligently to be compatible with one another. When used alongside one another, the combination makes for robust and tight design. With weights starting with the slender thin ranging to the juicy black, Slab Soft opens the doorway to the vary of uses. Its design is legible and neutral enough for bodies of copy--both in print and on your website. The web font also stands out perfectly as a headline or a display face. Slab Soft carefully places a foot ahead, and doesn't overpower like many slabs. This font’s the choice to seize the day and get the job done. All insigne™ fonts are absolutely loaded with OpenType options. Sancoale Slab is geared up for pro typography, together with alternates with stems, compact caps and lots of alts, together with “normalized” capitals and lowercase letters. The font features many numeral sets, with fractions, old-style and lining figures with superiors and inferiors. OpenType-capable programs like Quark or the Adobe suite allow you to quickly change ligatures and alternates. You can see these options shown in the .pdf brochure. Bundled are compact caps, fractions, old-style and lining quantities, scientific superior/inferior figures, entire ordinal and inferior alphabet. The Sancoale superfamily also features the glyphs to aid a variety of languages, together with Central, Eastern and Western European languages. In all, Sancoale Slab supports around forty languages that utilize the Latin script, earning Sancoale the pick for for multi-lingual publications and packaging.

Professor Minty is a cartoon-inspired kind of comic font with a lotta bounce and a whole buncha spooky fun. Both regular and bold are based on Chank’s first fonts, Mister Frisky and Uncle Stinky. The Bold version is brand new in 2011, never before available. But here both of those fonts are combined into one extra-savvy font that does all kinds of tricks. It has many extra special OpenType features, like Swash, Contextual Alternates and Small caps and more. There’s even a “decaf” feature (Stylistic Set #1) which tones it down a bit if the account people think it is just too exciting. Works good for Halloween, Christmas and Valentine’s Day, oddly enough. Who knew those three holidays had anything in common?

Our Binder Family is a revival and expansion of Binder-Style, a typeface designed by Joseph Binder and released by D. Stempel AG in 1959. It originally was a single weight. In later film type adaptations, a bold style, and an outline with drop shadow style were made available. However, this typeface never really had a true sense of family or larger language compatible character set. The original Binder-style typeface found revived popularity with its super condensed style when it appeared on the movie poster for "Silence of the Lambs". It was always a disappointment to me how this typestyle had never gained more traction in use. And so, many years later, we decided to revive the original typestyle, and expand it with a range of weights and obliques to pair with those weights. We've moved most of the unusual lowercase forms to a Stylistic Alternates feature, along with unicast alternates for the Capitals. The family includes a full standard character set with expansive international support of latin based languages, and 4 weights jumping from Thin to Bold, along with 4 accompanying obliques. This family is ready for you to eat it up with a nice glass of Chianti. Here's what's included with the Binder Family: 538 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. 4 weights: Thin, Light, Regular, & Bold. Accompanying Obliques with each weight/width style. TTF formatted fonts have been hinted for optimal performance. Here's why the Binder Family is for you: You're in need of a stylish condensed font with a variety of weights and obliques for your designs You're a fan of the typographic works of Joseph Binder, but wish there was more to them You love the style of Agency and Bank Gothic, but want something uber-narrow You are desperate to recreate the movie poster from Silence of the Lambs You just like to collect quality fonts to add to your design arsenal

Cassia - a dynamic ‘Egyptienne’ with contrasting Italics and a classical appearance. More individual and agile and less cold than most Slab Serifs, it joins impetuosity with vitality. In display sizes it dazzles through its lusty appearance, and, even in the smallest sizes, it works superbly for large amounts of text. Cassia comes in ten styles, in OpenType format and with extended language support for more than 40 languages. All weights contain small caps, standard and discretional ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

Throw away the carbon paper, ribbons and Tippex ... now you can get that typewritten look with RM True to Type. Legible at all sizes, it is available in regular and bold. That faithful old typewriter has given many years of valiant service, but now the keys are worn and blocked with ink. The Old styles replicate the wear and tear of years of use. Includes: Western European, Central European, Baltic & Turkish sets Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

Inspired by the old style of letters used for signs or signs in the 60s era, Retrosey was born with two main styles; Retrosey One (Bold) and Retrosey Two (Inline). Born with the old spirit and evoking new styles from the past. Retrosey is able to fulfill your desire to feel the era again. Make it in your style with happiness! You can use Retrosey for the needs of making signs, signpainting, advertisements, price lists in stores, menu lists, posters, movie titles, book covers, main text in titles, clothing designs, or whatever you want by returning to the 60s era.

Feel Script is based on lettering that calligrapher and logo designer Rand Holub created for Intertype for his face Monterey. Fortunately, I didn’t have the technological limitations today that Intertype had back then. Holub’s lettering is presented in its entirety within Feel Script. Some letterforms were redrawn from vintage American magazine ads (some by Holub himself), along with many new alternates, ligatures, ending forms, and strangely beautiful character combinations. The experience I’ve accumulated from my previous calligraphy typefaces (Ministry Script, Affair, Buffet Script, Burgues Script, et al.) made it easier for me to apply Holub’s lettering in a new context using OpenType technology. The usual extended treatment was given to Feel Script, all the way into the implementation of three-letter ligatures and the dreamiest swashes I could imagine. I changed some of the connections between the lowercase letters in order to fit Holub’s calligraphy as opposed to the limited Intertype metal attempt. I hope you like Feel Script. I also hope what I contributed to this particular Holub design is somewhat of a happy ending to a calligraphy story that crosses many technologies. From the pen to computer Bézier. My part of this story stops here ... and yours begins. Feel Script has more than 1200 glyphs including: stylistic alternates, contextual alternates, titling alternates, swashes, and ligatures. Check out the PDF!

This beautiful handwritten font we made very attractive with a natural touch we worked back to clean smudges and into smooth lettering it's easy when you cut as well as print stickers and other cool work you're working on this font has 3 front swashes and 3 back swashes for lowercase and one alternative for uppercase, 98 ligature Fonts include uppercase and lowercase letters, punctuation numbers, and language support

Bonlivet is an all capitals display face, which starts from Roman letter forms and pushes them into wild decorative extravagance. There is a somewhat early 20th century feel to this, but really it’s just a bit of good fun, with a hint of elegance thrown in.

Eyebel was an attempt to form letters as simply as possible using only straight lines but still have them legible. The family is low contrast and has a boxy look. Eyebel-Ruff was formed by randomly moving control points. None of these faces have any curves.

This delightful new design has a friendly, open face and will be useful for many display purposes. Due to the modular nature of this design there may be a very slight lack of smoothness to the curves at extremely large point sizes (around 200 pt and above).

It is what it says: a classic woodtype face by the same name from Vanderburg and Wells' 1878 specimen book. What it lacks in refinement, it makes up for in exuberance. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

PeterPierre is a stiff, awkward sans serif face. It has little variation in stroke width and the vertical and horizontal elements are connected with short, sharp curves. The condensed style was developed first and then, in a quest for legibility, it was widened into the regular style.

Limited to a single width for all characters and a rough image transferred through a ribbon to the paper, in 1953 Clayton Smith at IBM, Lexington, adapted the classical serifed letterform to this difficult medium to obtain a typewriter face of good readability and interesting texture.

Britannic is a sans serif face with a vertical axis and a high degree of stroke contrast, especially in the heavier weights. This typeface exudes a degree of elegance that has not often been matched during the Century that has passed since it was first drawn.

A 1940s sheet music edition of an early 1900s song entitled "You Taught Me How to Love You, Now Teach Me to Forget" was set in a popular metal type slab serif face. It is presented digitally as Elite Resort JNL, in both regular and oblique versions.

An expressive disconnected script and a stylish display face that play together devilishly well. Add some handsome extras to the mix and voilà Blueshift, ​​a hand-drawn family with a remarkable contemporary accent. Splendid designs are guaranteed for all​!​ (​And tonight Mr. Kite is topping the bill.)

Stick out a mile with the Mysteria typeface and catch everyone's eye. Using a mix of its two weights helps to create stunning messages. Mysteria’s one-of-a-kind eccentric design of a display face can easily be combined with the matching body text family Gerlach Sans.

KD Bombarda is a piano-key, stencil and display face that will make your projects stand out from the crowd by introducing some interesting letter shapes. Originally designed in 2013, it's now been edited to provide smoother curves with broader character and feature support including Cyrillic.

Frederic Goudy’s Village typeface was originally used exclusively for his Village Press publications. Designed in 1903, Village is a Venetian book face with sturdy, open forms. Steve Matteson digitized this typeface from books printed by the Village Press. An excellent companion to any of Goudy’s other typefaces.

Springfield is a narrow, western-style display face from Bob McGrath. The design recalls wood types that were popular during the late 19th and early 20th centuries, but which also found resonance during the 1970s. Use Springfield to liven up otherwise dull headline and logo projects.

Type family of two weights was designed in 2000-2001 by Oleg Karpinsky and licensed by ParaType. Similar to Ariergard face in letterforms but differs from it by slab serifs, which always project to the center of an em square. For use in advertising and display typography.

One of the classic display types of the 19th century, an Egyptian with bracketed serifs. There are many variants of this face and its uses are many, this a modified version lacking the teardrop or ball terminals on a, c, f, g, j, r, f, y.

Loosely inspired by the designs of Rudolf Koch and his Koch Antiqua, Sin Original Dark by Mondrey Sin is a curious monoline display face with small x-heights, and large caps. The design almost looks 1920s vintage. Interesting for book Jackets, editorial, and as drop caps.

Qualettee is a decorative sans face with a high x-height that works surprisingly well for text. The lightest weight is almost moonline but as the styles get bolder, the contrast increases, becoming very pronounced. The family has ten members: five weights with italics for each weight.

An unusual handlettered alphabet from the 1922 chapbook Modern Show Card Writing, by Joseph Bertram Jowitt, provided the pattern for this whimsical face. Its letterforms, as well as its name, conjure up visions of faraway places, and is sure to add a unique charm to your next project. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

A condensed loose brush style. This font has a breezy elegance and casual sophistication, yet in a different context or color, it could be seen as nervous and urban. A weird dichotomy. Set in smallish text blocks, it has a surprisingly even color. This is due to a balace that has been struck between keeping the roughness and idiosyncracies of a hand-drawn face but ensuring an overall regularity.

The six weight Organon Serif typeface is a stylish and feature-laden OpenType family which complements its sister Organon Sans, both components working in tandem to create an elegant, legible and thoughtfully designed suite of fonts which share similar cap & x heights, stem widths and ascender/descender values. Organon Serif mixes slab and calligraphic traits to create a truly impressive modern serif face fully loaded with typographic options.

Thick horizontals reminiscent of certain Egyptian or western-themed display faces warp into stretched-out glyphs and strange elliptical forms in this haphazard, page-filling font. Sure to evoke images of saturday morning cartoons, zany retro advertisements, and various other expressions of mid-20th century whimsy . Comes packaged in both TrueType and OpenType formats with standard complement of alpha-numeric glyphs, punctuation marks, mathematical symbols, and European diacritics.

Of the many lettering gurus who published chapbooks on handlettering during its heyday, one of the most prolific was H. C. Martin. This quirky poster face was offered in one of his many Idea Books, and it remains as fresh and frolicsome today, some seventy years later, as when it first appeared. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Hairline fonts are very clean, shining, elegant and even luxurious. They look great in fashion magazines, in the expansive world of beauty and glory. Messner is an extra-light all-caps face, especially suitable for larger sizes. Simplicity, purity and readability of its classic forms were on the first place in the creation process. Messner was a resource for designing the Kammerlander family and their combination looks very natural.

One of the text fonts showcased within the pages of the John Ryan Foundry (Baltimore, MD) specimen book from 1894 is a squared type face with rounded corners called “Geometric”. The original design has been updated slightly by substituting straight lines for the inner corner curves to add a small contemporary touch to a classic alphabet from the 19th century. Business Letter JNL is available in both regular and oblique versions.

Garstang Engraved is the latest in Greater Albion's series of ‘wood type’ inspired fonts. Garstang Engraved is a hand-cut Roman, suggesting the late Victorian era, but the type of thing that continued in use well into the twentieth century. If you want a title face that has versatility and suggests a past history, as well as the art of finely cut wood type, then this is it!

HardTimes has been hard work, designing a handmade typeface must always have the right balance between rough and smooth, specially with this Times-like face. It has the big European glyph-set, so that it can be used all over the continent I come from. I gave this font extensive kerning. Times are too hard for boring typefaces, so try this one for a change. -Your hardworking type designer, Gert Wiescher

A random scan from a late nineteenth-century German type specimen book, encountered on the internet, provided the pattern for this surprisingly contemporary face. Although all of the characters are parallel to the baseline, the unusual dimensional treatment tends to give the impression that they slant upward to the right. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Obelysk Grotesk was designed by the Lanston Drawing Office in the late 1980s. This face is a reconstruction of Spire (1937) drawn by Sol Hess. The skeleton of Spire Roman stands with the serifs removed. Like Spire, this font has no lower case, but does offer alternate cap styles in some of the lower case positions. Spire and Obelysk have both been used prominently in the fashion industry.

Handlettering on a 1934 WPA poster promoting skating in Central Park provided the pattern for the uppercase letters of this typeface, while the lowercase letters take their inspiration from Paul Renner’s Steile Futura. The result is a warm, friendly face that is both quaint and modern. Available in Roman and Italic versions. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

PuffiClaude by Matt Desmond is a real piece of work. Great for funky display stuff, its got some jive junk hanging around every character. This OpenType font has many goodies including extra ligatures, superiors and inferiors, unlimited fractions, and a hip little smiley face. Hey, maybe it's a portrait of Claude! There are so many funky glyphs that it even supports Central European languages. Man, that's hip! Hook up.