Sometimes the ugliest pets can be the cutest ones. And the dirtiest fonts can be the most charming ones. Like CA Smut which comes in two styles that can be stacked on top of each other. “Regular” is the shadow, while “Fill” is the filling. Create little masterpieces by playing with different colors, offset or deviating tracking. You can even try to use the “Fill” style on its own, but do so at you own risk. The spacing and kerning is optimized for the use with “Regular”, so be open minded for surprising results. If you ever had the intention to design a horror movie poster, there’s no way around CA Smut.

Dusan "Dustin" Jelesijevic wanted to make a font that would be "scary" and "serious" at the same time. Wanna-be-horror and punk-rock-out-of-beers typeface's style invites all interest minors and adults to use this fonts for miscellaneous rebel-yeah situations. For example, if you like to protest in a public against Tour De Force font foundry, please write transparencies using this font, it will hurt us bad. Just don't hack our site with message written in Rough the Type. If you write with West European characters, love being nerdy and to kick some schmucks in the brain, Rough the Type is at your service. And remember - I know what font you used last summer!!!

Nimbus Sans ME is the expansion within the Nimbus Sans family for the Middle East range: Arabic (incl. Farsi) and Hebrew. Volker Schnebel has designed both scripts, which each include five upright and five cursive styles. The design is contemporary and fits the Latin Nimbus Sans. Besides the basis characters, the Arabic also includes the presentation forms: the variations for initial, medial and final letters. The correspondent OTF features are included in the fonts. All three scripts are perfectly combinable. Nimbus Sans is one of the best supported and most favored URW fonts ever. It is available as a Global Font in 4 weights and contains up to 65.000 characters per font.

Promea is a Grotesk font meticulously designed with precise engineering in mind. Its amount of kerning, support for tabular/proportional figures, small caps, slashed zero, and fractions will make sure it performs well in all types of environments. Even the auto-centering colon among numbers will make your typography shine! The stylistic inktraps combined with low x-height and high contrast will surely bring you the sharpest typographic experience ever. The font is perfect for text environments like magazines, but it excels at displaying its full range of characteristics. Features: Smallcaps Tabular & proportional figures Small figures & fractions Slashed zero Double/single-story a & g Colon auto-centering vertically among figures (e.g. 10:00)

China Dragon JNL was inspired by a vintage letterpress logo cut on sale in an online auction. The logo for The China Dragon restaurant (presumably from the 1950s or 1960s) had a wonderfully eclectic hand-lettered look. Some of the original characters were modified slightly to conform with the ones created for the remainder of the typeface, but the original styling remains intact. The unique design of this font allows it to adapt well to Art Nouveau or Mideastern project styles. In January of 2006, Jeff Levine Fonts started with just ten designs. A little more than seven years later, in April, 2013 the release of China Dragon is the 700th font added to this ever-growing library.

Posterman is a cool sans-serif typeface. With tall letterforms in a grotesque appearance, this legible typography is a lettering for neo-classic headline or clean logotype. The Posterman font family consists of Regular, Bold and Black, and each weight as Italic, totalling in six styles. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Myteri Script is an expressive calligraphy font. Drawn and created by Mans Greback, this handwritten lettering has a wild personality and tough appearance, with tattoo-inspired shapes and vivid movements. To make swashes, use [ ] { } _ anywhere in a word. Example: Tatt_oos It is provided in four slant and weight styles to further extend the possibilities of use. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all European Latin-based languages. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

SPIDER-MAN! THE HULK! THE FANTASTIC FOUR! BATMAN! SUPERMAN! Superstar artist Mike Wieringo has worked with the most well-known characters in comic books, and just a few short years ago Comicraft teamed up with Mike and writer Todd DeZago in the pages of their creator-owned comic book fantasy adventure series, TELLOS! At Mike's request, we created a special Wieringo font which incorporated Mike's distinctive, slick-and-easy, backward-sloping letters, as well as a slightly heavier font -- carrying just a little more ink -- for the Shadow Jumper characters featured in the first TELLOS story arc. Now the Mike Wieringo font can be yours as it joins our ever growing library of Masters of Comic Book Art fonts.

My Left Hand is exactly what it is...well, not my actual flesh-and-blood left hand but my actual handwriting, and I know that it really is My Left Hand because people tell me all the time, "You're left-handed!" When I hear people say that, it always reassures me that I am left-handed, in case I am ever doubtful about it. Five of the last eight U.S. presidents have been left-handed, so we're in good company, no matter which political party you're a fan of. This font has an appealing rough look at large sizes, but at smaller sizes it looks smooth as silk. Digitized by John Bomparte.

Good Faster is a bold script typeface. In a quirky calligraphic style, this flowing font has a rustic look and soft lines. The Good Faster family consists of four styles: Regular, Bold, Italic and Bold Italic, complimenting each other for the greatest design possibilities. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Back in 2006 when we first released our Happy Holidays font, we thought the War on Christmas was over! We'd taken down our Menorahs, our Christmas trees, reclining Buddhas and red, black and green Kwanzaa decorations, and were prepared to sprinkle nothing more than a little Season's Greetings over our end of year celebrations. When we saw our friends and neighbors at department stores, we'd greet them with a simple, cordial, non-denominational “Happy Holidays.” But the font showed up at our company party this year having learned over 200 new languages (and, it must be said, a little bit loaded on Stylistic Alternates) in a mood to celebrate EVERYTHING. It was wishing people happy Bodhi Day, Solstice, Festivus, you name it! It even brought (count 'em) THREE new outfits based on the colors of Christmas, Hanukkah and Kwanzaa. So may the designs on the cups of the hot beverages that take you through the long dark coffee break of the soul that stretches from Halloween to Thanksgiving to New Year's Day be a little more festive this year with the refreshed, Remastered, all-inclusive spirit of Happy Holidays!

Coil feels comfortable like a well-worn pair of shoes. It could easily pass for an assertive industrial European sans serif of the early 1960s with its slight reverse contrast, monotonous proportions, and squared-off curves, if not for its less predictable side. What appears initially as ellipses upon closer inspection turns out to be irregular shapes, closer to an inverted egg than an oval. The s looks topsy-turvy with its higher curve that is larger than the lower. Some terminal strokes overhang the bowl (as in the a), others open flat (as in the Q, the f, the j, and the t). The resulting effect shakes up this seemingly “retro” face just to make it new. Our midcentury recollections are slightly distorted and reinterpreted by this ironic typeface making it fresh while deceptively cozy and familiar. Coil’s high x-height and even texture make it readable even in small sizes despite its tight apertures. Available in four weights with their italics, with two sets of figures, fractions, and alternates for Extended Latin and Cyrillic scripts. Designed by Vyacheslav Kirilenko and Gayaneh Bagdasaryan, 2020-21.

Download PDF Specimen See Blacker and Blacker Sans , the perfect matching companions of Blackest. Blackest is an inverse contrast wedge serif typeface family, designed by Francesco Canovaro and Andrea Tartarelli as a development of the Blacker typeface designed by Cosimo Lorenzo Pancini. The classical skeleton and sharp edges of the original have been kept while bringing the contrast of the typeface in the realm of the so called “italian” or reverse-contrast typefaces. The result is a typeface family that manages to be quirky but classical, and playful without losing elegance. With its exuberance and six weights of eye-catching proportions, Blackest is perfect for display use: editorial & magazine design, poster design and logo development - but to allow its usage as a for typesetting of longer texts a text variant in two weights has been developed, with less contrast, looser spacing, and high readability. Blackest features an extended character set that covers over 220 languages using the Latin alphabet, as well as Russian Cyrillic. Open type features include small caps, positional figures, alternate letter forms, stylistic sets, arrows and extra punctuation and discretionary ligatures.

The lightest weight of Presley Slab takes inspiration from a late nineteenth-century type specimen, but what began as a decorative and delicate contrasted serif stirred Alejandro Paul’s imagination to conjure voluptuous reverse contrasted letterforms. These became the heaviest weight of Presley Slab, which nods to the lacquered hairstyles from the birth of rock ’n roll with its idiosyncratic ball terminals. Its playful allure and swagger remains visible in the weights that stand between these two extremes but as the curls loosened, many things happened in the design process including the appearance of swashes and alternates. Presley Slab’s personality has breadth; it is a fun, confident and contemporary palette of letters that will perfectly perform for any job, from editorial design to branding. The Extra Bold and Black weights are a powerful option at large sizes for use on posters and billboards; the graceful Thin and Extra Light weights are delicate options for packaging design or fashion branding. Despite it conjuring images of mid-century music halls, Presley Slab is also staunchly European in it’s aesthetic, offering everything from good-humour to elegance with its unique touches.

Blanchard is a revival and elaborate extension of Muriel, a 1950 metal face made by Joan Trochut-Blanchard for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud. Blanchard is a script that embodies the post-war narrow decorative aesthetic that would become the instantly recognizable feature of that era’s design. Its high ascenders corners make it the tuxedo of fonts, with slight and casual angles gradually revealing a trustworthy confidante, and sharp corners signaling a most expressive ally. Font. James Font. This digital version updates the original metal shapes to work within today’s design tools and designer needs. Some of the questionable metal shapes were optimized, plenty of alternates were added, and as many as five ending forms were built for most lowercase letters. Overall, this is one of the most useful packages for book cover, magazine and packaging design. Blanchard is available in all popular formats. Blanchard Pro combines all five fonts into a single one that makes use of OpenType’s cross-platform compatibility and programs that support OT’s fine typography features, like recent versions of Adobe InDesign and QuarkXpress.

Debut Studio Presents The Retromax.... This Script is a special script or typeface in which the emphasis is reversed from the norm: instead of the vertical lines being wider or thicker than the horizontal lines, which is normal in Latin alphabet writing and especially printing, horizontal lines are the thickest. It's quirky and fun, you can use for any project. Retromax is also a Layered Fonts, Layered fonts have letters that appear raised, or stacked in multiple layers of different shades or colors. Some layered fonts actually include multiple files for each layer. With layered font families, we can create novel combinations of 3D with Shade. Features: Uppercase & Lowercase Number & Punctuation Multiple Language & Stylistic Alternate Files Included: Retromax Regular Retromax Offset Retromax 3D Retromax Shade I hope you like my latest product, This collection will be perfect for creating posters, art prints, apparel and t-shirt designs, Instagram and other social media posts, and many more. if you have questions and problems when using it, please leave a message in the comments or via direct message, I will be very happy to reply, Happy Designing!

Squalo, the genesis The idea of this project called Squalo popped into my mind while I was working with excitement on some sketches. I was chasing after a strong typographical character, something that for me has to be crystallized in form which is always legible and functional. The concept The concept of Squalo arises from the observation of an athlete’s body: you notice that even if most are lean, they are also strong, cut and chiselled. The sport they play molds and modify their bodies.  Just think, for instance, on a professional swimmer: during the competition every single muscle, tendon, tissue, cell is working to swim faster. Every single part is there to give strength and speed like in a “squalo” (shark in italian). Not as an eel, nor as a mermaid, nor as a hake. Just like a shark. If you take a quick look, you will notice that the width of the typeface is slightly more condensed than that of a standard sans serif. We designed Squalo this way specifically to assist and strengthen your concepts through stylized typography. We designed the joins and terminals (tip ends) of the characters A, V, W, Z, v, w, z, to create a feeling of “tension”, reinforcing the concept of shark, danger, caution, as well explicit, intentional movement. Pure strength. We wanted to recall the exact moment of the start of the 100 meters race: when the sprinter initially spreads all of his powerful energy. The italic version, starting with the former two typographical concepts of width and tension, emphasizes them. First of all, we compressed the characters 10 percent more, and slanted it 10 degrees to the right. With this movement I intended to convey the gorgeous feeling of tension in power and rapidity. The typeface has 9 weights, from “hair” to “black”, and two versions, “regular” and “italic”.  All 18 fonts include small caps, unicase, tabular and oldstyle numbers, numerators and denominators, and much more. Squalo is an ideal typeface that I recommend for use in marketing campaigns, design of packaging, magazines, branding for tv programs, films, book texts, editorial, publications, logos, corporate projects, web texts, and graphic design in motion. Squalo supports the following languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Introducing Valve—the ultimate industrial typeface for the modern age. With its superelliptical letterforms and pragmatic stroke logic, Valve is the perfect choice for anyone looking to evoke the cold, hard world of plastics, pharmaceuticals, electronics, and alternative energy. But don’t be fooled by Valve’s emotionless, android-like forms. This is a typeface that packs a punch, with soft stroke ends that lend it a touch of elegance and sophistication. Whether you’re designing a cutting-edge tech brochure or a sleek new website, Valve is the perfect choice for anyone who wants to convey a sense of modernity and precision. And unlike other ultramodern typefaces that rely on tongue-in-cheek references to retro futurism, Valve is purely synthetic. Built solely from artificial elements with no specific structural source, this is a typeface that’s as forward-thinking as they come. So why settle for a typeface that’s stuck in the past when you can choose Valve and embrace the future? And with OpenType fractions, numeric ordinals, and a wide range of currency symbols included, Valve is more versatile than ever. Available in five weights—Extra-Light, Light, Regular, Bold, and Heavy—as well as a set of sleek obliques, Valve is the perfect choice for anyone looking to take their design game to the next level. So what are you waiting for? Choose Valve today and see the difference that a truly ultramodern typeface can make. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

If you're familiar with the work of Eisner Award winning artist Tim Sale, you'll also be familiar with the soft curves and hard edges of the characters he brings so vividly to life in the pages of GRENDEL, BATMAN and SUPERMAN. Now you can get to know a selection of the characters Tim has been working on his whole life, and Comicraft has been kind enough to arrange them in alphabetical order for you! Based on Tim's own hand lettering work in the lost Dark Horse classic, BILLI 99, the Tim Sale font brings together the class and finesse of Hunter Rose, the elegance and charm of Bruce Wayne and the honesty and trustworthiness of Clark Kent. Don't go into the big city alone at night without it. See the families related to Tim Sale: Tim Sale Lower & Tim Sale Brush.

Brda originally designed by the Polish designer Franciszek Otto for the Powiat weekly newspaper. Powiat needed a new, dynamically drawn sans serif for its headlines, and Otto's Brda fit the bill. Combining traditional Grotesk letterforms with witty subtleties, like the notched-joint seen in the capital G, Brda displays a novel design that works best when set large. The typeface is named after the Brda river, which runs through Bydgoszcz, Poland, the city where Powiat is published. The Brda family includes three weights, each with a companion italic: Regular, Bold, and Extra Bold. The Brda family's Extra Bold weight was one of the winners selected in the 2003 International Type Design Contest, sponsored by Linotype GmbH. Franciszek Otto also teaches graphic design at the Secondary Art School in Bydgoszcz, where his typefaces rank among the students' favorites.

Hi there! Hydric Design proudly present the Sunchilla Script font, inspired by The Day of the Dead is a Mexican holiday celebrated throughout Mexico, in particular the Central and South regions, and by people of Mexican heritage elsewhere called "Dia De Muertos" design with a touch of Sweet, Unique and Fun style. Sunnchilla Script font is made in a handwriting style so it is suitable for use in product design and display titles. Sunchilla Script font are included in the display font category so can be used for any designs that have a cheerful, elegant and sweet impression. and also will be very suitable when used on titles, logos, product posters, websites, menu books, books, and many designs that can be explored using document fonts. it will looks very beautiful because it will easy to remember and very easy to use.

The successful Gill Sans® was designed by the English artist and type designer Eric Gill and issued by Monotype in 1928 to 1930. The roots of Gill Sans can be traced to the typeface that Gill's teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. Gill´s alphabet is more classical in proportion and contains what have become known as his signature flared capital R and eyeglass lowercase g. Gill Sans is a humanist sans serif with some geometric touches in its structures. It also has a distinctly British feel. Legible and modern though sometimes cheerfully idiosyncratic, the lighter weights work for text, and the bolder weights make for compelling display typography. Gill Sans is also available as Value Pack for Macintosh, PC or as Hybrid CD with both platforms.

We produce original printing press letter fonts, for example from the journal Southern Literary Messenger (circa 1830 - 1870). The only one in the world. What makes our fonts so attractive to the eye, are the myriad imperfections. It's not an approximation to the printing-press letters--- these are the actual letters, complete with all their manifold differences. If you look closely you will notice that the letter 'e' say, each time it is printed, is slightly different. These differences arise from the mechanical action of the inked-wooden press on the paper, and cannot be faked by artificial means. The eye subconsciously picks up this text as the actual printing press letters. Edgar Allan Poe published many of his great works in the Southern Literary Messenger, as did many other great nineteenth century writers, ie. Henry Wadsworth Longfellow, Nathaniel Hawthorne &c.

Duct tape is one of the most versatile adhesive materials known today. From fixing the bumper of your car that keeps falling off, to creating a sturdy wallet. From alternative wrapping to sticking a friend to the wall, Duct tape is there. And it will stay there. It will stick to anything and hold for a very darn long time too! The cloth-backed tape was invented some time during World War II, and also proved itself useful as a base material for lettering. VLNL Duct was originally designed by DBXL as a logo for temporary Amsterdam restaurant BAUT. DBXL imagined an owner taping the name on the window of his shop using Duct tape. The font was used for all communication of the restaurant. Duct is a sturdy, rough all-caps typeface that will stick to anything.

LOVE angelo is a beautiful Font Duo that's perfect for branding, wedding invitations, and other romantic projects. Font Features: -Lowercase beginning and end swash -lowercase swash up and down -ligature -1 multilingual Serif font. All the features and special characters of this font are included in one file. So that it is easily accessible by using programs or software that support opentype such as Microsoft Word, Excel, Adobe Illustrator, Adobe Photosop, and Adobe Indesign). This font is also very easy to use as it is compatible for all software even for supported non-opentypes. Are you wondering how to find out a special feature or character? Dont worry. You will get a guide with the file if you download this font. Please send a message if you have any questions or concerns, and feel free to say hi on Instagram: https://www.instagram.com/slex_studio/