Branlerst is an aesthetic vintage typography font, inspired from the past, elegant signage, gold leaf , sign painting and old label product. Branlerst comes with alternates characters to make more eye cacthy . It is suitable for authentic logos, headings, sign painting, posters, letterhead, branding, magazines, album covers, book covers, movies, apparel design, flyers, greeting cards, product packaging, and more. You just cobine with the another font like script , serif or san serif font and adding some effect finally BOOM..!! you get a great design for your project.

Designed at ParaType (ParaGraph) in 1992 by Vladimir Yefimov. Based on letterforms of Firmin Didot, a French typographer from the 18th century, ITC Didi, of 1970, by Herb Lubalin and Tom Carnase, and Russian typefaces of the 18th-19th centuries. A little extragerrated decorative stylization of letterforms in the spirit of Modern Serif, with elements of an irony. For use in headlines, in advertising and display typography. Improved and added with Extra Bold, old style figures, ligatures and other symbols in 2010 by the same author.

Barberry is a hand-made brush script typeface equipped with some decorative OTF features, made by Zakhar Yaschin (FontaZY). Barberry font contains stylistic alternates, initial and final alternates (which is duplicated by contextual alternates in the case when ini & fina are not supported), ligatures, titling alternates, small caps and large collection of swashes (additional variants - in Stylistic Set). The Barberry font is essential for hand-made lettering and design. The Barberry family also includes Barberry Vigniette font with over 200 icons and vigniettes in it. Barberry Letters supports most of Western languages (including Central Europian, Baltic and Eastern European languages) and also Cyrillic. Each lowercase letter has three positional versions of the design – basic (if the letter is in the middle of a word), initial (if the word starts with it) and the final (in the end of the word) that makes the set look more alive and expressive. Working with Barberry Letters you can enable and disable if needed such typographic tools as swashes, ligatures, small caps, titling alternates, stylistic alternates, additional swashes and the already mentioned initial and final alternates. If your design software does not support the use of the initial and final alternatives, they can be duplicated by contextual substitutions. There are more than 20 Latin and Cyrillic ligatures in the Barberry Letters. It works by default as the standard ligatures, but you can switch it off for design reasons or to select the more appropriate typographic solution in any particular case. Ornamental font Barberry Vigniette has more than 200 pictograms and vignettes that can decorate your typographic layout. All icons are drawn with a brush in the same style as the Barberry Letters. You can use them inside the text lines, or make the ornamental decoration for text, or use separately, without any letters. OpenType extensions of the Barberry Letters significantly expand the choice of typographical tools to design a better, more expressive layout. Choosing the optimal variant of certain letters in each case, you can receive a unique composition. Whether it is lettering for packaging or magazine headline, logotype or the name in the invitation – just one Barberry font-family gives you the very wide typographic possibilities.

Leathery and Loopy Letterer of Legend, Richard Starkings has pointed his Apple Pencil at Procreate on his iPad and proceeded to raise the bar on lower case for this scandalous series of squiggles we had to call Rendered in the style of ShoutOut, this jaunty new Comicraft offering features both upper and lower case and recreates a pen lettering style of which we honestly thought Old Man Starkings was no longer capable! Suitable for jolly journal entries, hand-written notes to loved ones and sundry laundry lists, SCOUNDREL does more than Shout, and it does it quite quietly too! Scoundrel includes four weights (Regular, Italic, Bold & Bold Italic) with upper and lower case alphabets plus Western and Central European international characters.

The font is called “Bygonest”, it is inspired by a realistic old typewriter. The font comes with 2 styles (clean and rustic) and 3 weights (thin, regular and bold). This font includes 1 sets alternates with different stamp texture, so you can combine the same 2 letters and not be boring. The font is unique because it has splash rustic in detail of glyph characters. Bygonest matches apply in some designs such as the newspaper, magazine, quotes, logotype, poster, label, packaging, branding, and more custom design. Bygonest includes : 2 style typefaces (clean and rustic) 3 weights (thin, regular and bold) Uppercase, lowercase, numeral, symbol and punctuation Alternate feature Standard ligature Multilingual PUA Encoded Thank you for your support and choosing us.

Created by Swedish designer Bo Berndal in 1999, Linotype Dala Text can best be described as a softer, friendlier blackletter. Blackletter refers to typefaces that evolve out of Northern Europe's medieval manuscript tradition. Often called gothic, or Old English, these letters are identified by the traces of the wide-nibbed pen stroke within their forms. Linotype Dala Text most resembles the fraktur type of blackletter. Fraktur types were popular text faces in Northern Europe until the 20th century. Inspired by Swedish folklore, this fraktur is much softer and rounder than most examples. Its connection to the Scandinavian folkloric tradition makes Linotype Dala perfectly suited for such texts as fairy tales, medieval stories, and other things that might appeal to a child's sense of adventure. To strengthen the medieval fairy tale look, use Linotype Dala Text together with other elements of the Linotype Dala family: Library's Linotype Dala Pict and Linotype Dala Border. The characters in these two supplementary fonts were inspired by medieval and renaissance folk art, and were also drawn by Bo Berndal, making them a perfect match. All three styles of the Linotype Dala Family are part of the Take Type 4 collection from Linotype GmbH."

Mimix is designed especially for comic fans and all typographers who like to play. It’s ideal to express spontaneity and the joy of life. Where Mimix is used, there’s life. The characters are lined in a row, a face looks out from the page. Big ears surround an oval head. A mouse moves without haste, but dynamic and modern through the lines. Mimix skillfully combines the elegance of a modern roman with the spontaneity of a casual handwriting. The mouse shows its versatile character in its broad range of use. Without exaggeration, it’s always delicate and elegant. The quiet form and good readability is a result of its moderate inclination. Well developed, Mimix includes ten weights from Ultrathin through Black. The free trial pack includes two weights with a reduced number of glyphs. If you like it you will be then be able to buy the fonts itself complete with ligatures, special characters for Eastern European languages, uppercase, lining and old style figures as well as fractions and different Opentype features. Declare war on desert lead – with Mimix, those with charm. Download a free trial version of Mimix with a reduced character set. Check it out!

From the realm of insigne, a new family has risen. By name, Mandrel. Courtly in character and elegant in appearance, the face finds great favor among those with whom it seeks audience. With confident air, Mandrel carries itself gracefully before each pair of eyes, never faltering or stumbling in its refined step. But while dressed with gentility, this elegant family is not faint of heart when challenged. Crafted well for high-impact resistance, Mandrel steps boldly and prominently into the arena of the reader’s eye, boasting its tall x-heights, high contrast, confident bends, and sharp serifs. Skillfully, it wields its sharp serif endings, cutting swiftly through opponents’ crude clutter, which fights for the reader’s attention. From Thin to Black, nine weights and their matching italics make up this noble family. Mandrel furthermore includes an abundant treasury of OpenType variables to adorn your text. Ligatures, old-style figures, and stylistic sets are available to accompany the family’s 500 glyphs and its support for more than 70 languages. Raise your cup to this new Mandrel! With strong serifs and high contrast, you’ll find this champion ready to take up your challenge in many a test ahead.

“Designers can’t help but be inspired by the things that surround them,” says Massif’s designer Steve Matteson. An avid mountain climber, Matteson found his inspiration for his text face family in the dramatic granite formations of North America’s Sierra Nevada Mountains. Most of Matteson’s type designs are custom projects designed with an end use or customer in mind. Massif, which had no customer or specific purpose, was probably his most personal typeface to date. “My goal was to embody, in Massif’s two-dimensional letterforms, the angular tension and smooth curvature characteristic of the rugged terrain of Yosemite National Park’s Half Dome, which was formed by eons of glacial and tectonic activity,” Matteson explains. The typeface’s striking design echoes the faults and fissures that define a massif formation, resulting in a rich texture when used for body text and revealing distinctive shapes and proportions at display sizes. The Massif family comes in six weights, from Light to ExtraBold, each with an italic companion. The OpenType Pro suite contains small caps, ligatures and old style figures, and offers a small set of decorative ornaments. Pro fonts also include an extended character set supporting most Central European and many Eastern European languages.

Quizles is an elegant stencil serif with contrast. The font has classic proportions with bold serifs and fading thin lines. Quizles is easy to use in various design programs or without any program. The font is suitable for modern and vintage typographic compositions, design of books and fashion magazines, branding, packaging and social media design. Also use individual letters to create logos and monograms. The font has extensive language support, it includes English, French, German, Italian, Spanish, Portuguese, Danish, Norwegian, Swedish, Finnish, Estonian, Turkish. Quizles serif includes stylistic alternates for symbols: K, k, O, R. There are also ligatures: tt, ff, fi, gi, oo, ll, ra, ga, ca.

The Pop Cubism fonts are inspired by Roy Lichtenstein who combined the strong outlines and benday dots of Pop Art with the fragmented viewpoints and facet line divisions of Cubism. The bold letterforms are derived from a variety of styles, both serif and sans, angular and rounded. Pop Cubism is available in two packages: Pop Cubism Shaded is a single font which contains the lines and dot tones for use in a single color. The Pop Cubism Color Kit contains three matching fonts (Pop Cubism Outline, Pop Cubism Halftone Underlay and Pop Cubism Color Underlay) for overlaying different colors of lines, dot tones, and background color.

Get ready to be bold and elegant at the same time. It’s time to see Wildrace, a display font created in capital letters with the racing theme. The font’s character is the thick letters formed similar to rectangles to give strong impressions. Therefore, it will be more noticeable and match the large-sized texts. Wildrace also provides interesting features to enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Use Wildrace for any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Purchase now. Happy designing.

Sacnoth is a font inspired in the old knots celtic visual.

Nice for an authentic old fashioned flavor without being over-bearing.

a decorative caps font based in designs of old Speedball booklets

A typeface inspired by the old computer games of the 1980s.

inspired in classic wood type heritage fonts from old America's foundryes

Super Drift consists of a racing style with sharp lines with a verified tilt angle that will emphasize a modern and sporty style. Super Drift very suitable for automotive magazine covers, racing game covers, logos & branding, product design, labels and so on. What’s Included Super Drift 3D Super Drift Ragular Super Drift Line Standard glyphs Works on PC / Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. Thank you for your purchase! Hope you enjoy with our font!

Arx by Superfried is an elegant and intricate display typeface designed for use at large scale. Its Latin name - meaning citadel - connects with the classical features, whilst the phonetic pronunciation nods to the arcs which characterise each glyph. This caps typeface is available in two formats: fade and solid, each featuring two distinct character styles switched via the shift key. Fade features delicate incisions to add depth and the illusion of 3D shading to the arcs. Solid, as its name suggests, is a cleaner, flat alternative.

It's nice when a font provides old style figures, small caps and alternate letters. But what to do if my typesetting program doesn't support Open Type features? The solution may be old-fashioned, but it's effective: the variants are placed in separate font families: Standard, Old Style Figures (OSF), and Small Caps (SC). Any word processor can handle it. As a special feature, my OSF fonts also contain alternative letters such as a looped g or descenders in the italic f.

Spanish Main is a revival of an old MacKeller Smiths & Jordan font named Sloping Black. Like most foundries MacKeller Smiths & Jordan doesn't display all the letters of the fonts in their specimen books so it took a little more time to find the complete character set for this old beautiful classic font. New in this version is the addition of a Greek character set which is experimental as you normally don't see Old English style fonts include a Greek alphabet.

Roberta goes back to the old poster fonts of the 1930s. It is an excellent alternative and combination to fonts like Arnold Böcklin or Hobo. Ralph M. Unger redrew and digitized this font in 2003. His work is based on artwork taken from old font catalogs.

Please welcome, KEHLIN!, a time machine font for you to get back to those magnificent era for the sake of old retro and vintage stuff. An implementation from the old store sign and vintage advertising. Perfectly fit for your headline content, logo, branding, posters, anytime - anything, oldsport :)

Techno Retro JNL looks like a design straight out of the 1980s, but it actually appeared as hand lettering on a sheet music cover for the circa-1940s edition of the song "To You Sweetheart, Aloha", proving the old saying that "everything old is new again".

AZ Union font was inspired from an old vintage tin from the early 1900's This font utilizes an "old look" to the line work which is designed to have a "worn feel" to it. Ideal for use as headline or sub-head text in you design.

Moonbandit Font Foundry presents, Cafe Lumen. This elegant and unique typeface is inspired by the cool and relax atmosphere of an old vintage cafe luminated by an old dimmed lights and moon light. Cafe Lumen high contrast design fits well as a decorative and beautiful theme.

Leaves... lots of leaves... all hand drawn... 62 of them in fact. Big ones, small ones, line ones, reverse ones to use alone or together in groupings. A very versatile font.

An uppercase font that has versatile character. Got a story to tell? Cowgirl can help you tell it. Includes western-themed vector illustrations handmade by Meg Burk. I grew up spending almost every family vacation as a road trip across the southwestern US. In these adventures, I fell in love with learning about the nature around us; deserts, mountains, plains, piñon trees, rainbow trout, black bears, eagles, and more. I fell into freezing cold white water rapids, explored long-abandoned cliff dwellings, camped under the Milky Way, saw old cave markings, stone markings, preserved art, and read many a many old map legends. These memories are visceral and the inspiration that I get from them permeates my every day. Take a piece of these stories with you and use them in your designs, too. Handmade, meant to last a lifetime and inspire others for decades to come.

Quadrim - Serif Font Family - Multilingual -12 Style (2020) On the basis of Quadrim, it is a mix of the old-fashioned Roman serif family. The old style serif combination combines, modern aesthetics with fantasy and Art Nouveau serif fonts, making Quadrim a versatile family that can be used in many different design projects. This font offers a wide variety of styles to help you discover the best mood for your projects, from body text to large titles, from classic styles to modern and bold styles. It is very suitable for book and magazines, magazine covers, editorial, titles, websites, logos, invitations, branding, advertising and more. CHARACTER RANGES : Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, General Punctuation, Currency Symbols, CJK Symbols And Punctuation, Private Use Area (plane 0), With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Alta Mesa is a revival of an old type design from the 1800's that was sold by most of the type foundries in the US and Europe of that time period so it is difficult to know the foundry of origin. New with this version are the fill fonts and plain styles, the fill fonts may be used as stand alone fonts, however the letter spacing is much wider, the plain versions are recommended if you desire a solid black weight. The regular Fill font is in registration with the Regular and Open versions while the Fill L font is in registration with the L and Open L versions. This was a very charming font in its time which was heavily used on old billheads and letterheads. We're pleased to bring this type design, which hasn't been used for over 100 years, into the digital world today.

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming. Univers Next Variable are font files which are featuring two axis and have a preset instance from Light to Heavy and Condensed to Extended. Univers® Next font field guide including best practices, font pairings and alternatives.

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.

TT Phobos useful links: Specimen | Graphic presentation | Customization options TT Phobos is a pliable display serif with a soft and gentle character. The features of the typeface are the moderate contrast between bold and thin strokes, pliable visual compensators, and the counter-clockwise bend of internal ovals. In addition to 6 weights and 6 italic, TT Phobos also includes two original decorative fonts, inline and stencil. Despite its pliability and display character, TT Phobos is dynamic enough and is well suited for text arrays even in large text blocks. The serifs of letters are completely asymmetrical and bring in dynamics when reading the text from left to right. Thanks to the harmonious contrast of black and white forms and internal negative spaces of the letters, as well as its broad letter spacing, the typeface is well read in small sizes. In this case, the character of the letters is completely preserved, partially thanks to the exaggerated elegant visual compensators. The ornamental pattern used in TT Phobos Inline varies for capital and lowercase letters. Capital letters implement a more complex double inline with a rhombic element in the middle, and in the lower case features a simplified form of the inline, made in a single movement. Thanks to the original cutting, TT Phobos Stencil stands out for its expression, and the rounded cuts add even more visual style to the font. TT Phobos consists of 14 faces: 6 weights (Light, Regular, DemiBold, Bold, ExtraBold, Black), 6 Italics, inline and stencil. There are 17 ligatures in TT Phobos, including several Cyrillic ones. The typeface has stylistic alternates, which adds an italic effect to the upright fonts, and a little solemnity of the upright version to the italics. In addition, we have not forgotten about the old-style figures and other useful OpenType features, such as ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac, case.

Oona is a joining script with that classic, elegant "Old England" touch.

A casual retro script refined and developed from some old handwritten letters.

Cowboy Serenade is an old classic Western font from about the 1870s.