Coreta is an elegant serif font that combines classic charm with modern flexibility. With its smooth curves, this font creates stunning visual harmony. Perfect for a variety of projects, from wedding invitations to corporate designs. Thoughtful letter proportions ensure optimal readability at any size. Coreta is not just a font, it's an impressive statement of art. With its unique capabilities, it elevates the appeal of every design with a versatile touch of elegance.

The mysterious Spooky, an alphabet to frighten even the bravest, was created by British designer Timothy Donaldson. The figures line themselves up, irregular and with uneven outer contours, and conjure up thoughts of ghosts, bats, vampires and darkness. Spooky is the ideal font for ghost stories with happy endings, a parody on horror and romance. As an added bonus, Spooky includes illustrations, from black cat to spider to witch - everything needed to earn its name.

When I was a kid, I loved the story of The Boy Who Cried Wolf. I thought it was pretty stupid of the boy to trick the villagers into believing wolves are attacking his flock of sheep. But I also thought it was a bit sad that the sheep are eaten by a wolf in the end. I didn’t really feel sorry for the boy (he really was stupid), nor the wolf (he just does what he is supposed to do in life), but I did feel sorry for those poor sheep. I guess this is what disinformation leads to in the end. Cry Wolf is a bit of a scary font: it was made with a really old and battered brush, using Chinese ink and some quality French paper. It has a slight tilt to the right and I added some inky splatter for dramatic effect. Use Cry Wolf for your book covers, product packaging and headlines; use if to spice up you invitations and your halloween posters. Comes in a slightly tilted Regular style and an outright Italic style.

Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after. The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. »Prillwitz Press« combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes. This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1). The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font. The type family has all important characters for an efficient and typographic high quality work. ----------- (1) Accentuation of particular words or word orders (e.g. proper names, terms etc.). Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.

Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms. Maestro is the font that Arrighi and his colleagues would have made if they had had digital technology. Like the calligraphic system of the papal chancery on which it is modelled, it was not drawn as a single finished alphabet, but evolved from a confluence of script and Roman; the script is formalized by the Roman to stand proudly in a world of type. Maestro came together on screen over the course of several years, through many versions ranging widely in style, formality, width, slant, weight and other parameters. On one end of the spectrum, looking back to tradition it embodies the formal harmony of the Roman capitals and the minuscule which became the lower case. On the other it is a flowing script letter drawing on the spirit of later pointed pen and engravers scripts. As its original designers intended, it works with simple Roman capitals and serifs or swash capitals and baroque flourishes. The broad pen supplies weight and substance to the stroke which carries energy through tension in balanced s-curves. Above all it is meant to convey the life and motion of formal calligraphy as a worthy counterbalance to the stolid gravity of metal type. The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. For more thoughts on Maestro, its background and character sets, please read the PDF accompanying the family.

Praitor is based on a devotional inscription to the goddess Diana found a short distance from Rome in 1887. It is an early style from before 100 BC and has some characteristics of Etruscan lettering. It's a rough, strong font which works very well for distinctive titles.

Hadesz is a lusty and playful font with a rough, brushy texture. It comes with an abundance of opentype features, which make for the handwritten authenticity one looks for in a handwriting font. Hadesz comes in two versions: Basic (without ligatures) and PRO (the complete set).

AZ Placid font is basically a rough outline that lends well to other Serif fonts. 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.

Introducing a lovingly handmade new typeface, Hugehito Brush, a fun and imperfect modern brushed script font with a tough of uniqueness driven. Design like a professional with this typeface that fits perfectly for your wedding invitations, street ads, Instagram posts, t-shirt design, branding, and much more.

Ambleside is a town in the English Lake District. I used to live and work there, so I decided to name a font after it. Ambleside font is a handmade connected script font. It’s a little rough, but loveable nonetheless. Comes with all the diacritics you need!

Hightide is a rough, hand-lettered script font inspired by brush calligraphy of the 50’s and 60’s. It’s a cinch to use, and adds a welcome splash of salty vintage charm wherever it goes. Shown in posters with other Atlantic Fonts including Began and Reading.

Standard Cap is rough font made to look like it was written with a "standard cap" (the cap that comes on a krylon, rusto or other spraycan). The font includes full uppercase and lowercase alphabets as well as a full array of numbers, symbols, punctuation etc.

Bear Claw is a handwritten script font. A new fresh handmade font with rough edges. This font is support multi language and available in OTF file. This font will perfect for many different project ex: quotes, logo, blog header, poster, branding, fashion, apparel, letter, invitation, stationery, etc….

AZ Fast Fury font was inspired to have a "rough Scratched" look to some letters. 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.

**Brush in Space** - Handwritten Brush font with a natural Rough style and comical type. Crafted manually with love and passion, This font is great for your next creative project such as logos, printed quotes, invitations, cards, product packaging, headers, Logotype, Letterhead, Poster, Label, Game project and etc.

AZ College font was inspired from a combination of typical collegiate t-shirts designs and also the current wave of A&F t-shirt designs (rough look). This font utilizes an "old look" to the line work which is designed to have a "worn feel" to it.

Köhler Köhler is a Condensed Headline Type Family. Köhler comes complete with 6 OTF files. Regular, Rough, Clean & Textured with Oblique counterparts. Köhler is a super condensed typeface with a vintage aesthetic but also doubles as a great modern typeface depending on the final use. Thank you!

Introducing original label font named Shocker. This font has a multilungual characters support (check out all available characters on previews). The font family has three styles: Regular, Rough and Lightning. This font will look good on any designs like a poster, T-shirt, label, logo, etc.

BULKY is the 19th Font of André Toet. It’s Unusual, it’s Heavy, it’s Irregular, it’s Rough, it’s Stripy, it’s Angular, it’s BULKY. But it has character and extremely useful for headings, posters and even logotypes. Just-Use-It! Concept/Art Direction/Design: André Toet © 2017

Jakobenz is a vintage serif font crafted very carefully, available in two styles : Clean and Rough version. Jakobenz is perfect use for a logo for branding, typography design, badge design, product packaging, invitation, quotes, t-shirt design, label poster, special events and anything that need vintage taste.

Vox Populi was modeled after an early 17th century Latin translation of a Greek epos. It is a cursive typeface with a rough edge to it - not unlike the rather decayed original. Vox comes with a whole bunch of alternates and ligatures for that ‘ancient parchment look’.

Akserant Display Font is an amazing display font. The font is suitable for any project like branding , lettering , tshirt print and many others. Included Files : Accents (Multilingual characters) 10 Ligatures 113 Alternates and swashes PUA encoded Numerals and Punctuation (OpenType Standard) Features with Clean and Rough Version.

Callephane is our newest font. Its retro style is inspired by a unique design in the 60s. This fonts is perfect for any project, posters, clothing, labels, logos, badges, and many more, that would benefit from a retro look. Callephane has 3 styles: Light, Regular and Rough.

BARKLEY is a messy pencil drawn display font. It has over 200 glyphs and several variations on the standard alphabet and those extra pesky foreign features. I wanted it to look messy and rough but also with a little heart. Buy it, I know I might.

Hadesz is a lusty and playful font with a rough, brushy texture. It comes with an abundance of opentype features, which make for the handwritten authenticity one looks for in a handwriting font. Hadesz comes in two versions: Basic (without ligatures) and PRO (the complete set)

Crude Stencil JNL is a rough auto-tracing of a vintage lettering stencil from the 1980s, with additional characters added in post-production. At small type sizes, the lettering takes on a "grunge" effect, but larger scale text will reveal more of a jagged "cut paper" look.

I found an old typewriter and well... Typewriter BasiX is the result. Enjoy this rough retro looking design to use for your digital or print project and also check out Typewriter Revo, the clean version of Typewriter BasiX, and Typewriter DirtY, an even rougher and dirtier version.

This is "Thinker," a new font designed by Peachcreme. It has a rough look, giving the impression that it was scrawled down in a hasty and disorganised manner by hand with a pencil. Plus, it comes with a bonus set of hand-drawn graphics and alternate letters.

Pelican was designed by Arthur Baker and released by Agfa Compugraphic in 1989. Pelican is a calligraphic typeface that is distinguished by the irregular shapes of the lowercase letters. The rough-edged quality of Pelican makes it a good choice for informal display work and short texts.

Linger On is a handwritten fairly rough brush script. It’s equipped with some Open Type features and an extra set of the most common used letters. It also includes lines and endings for you to have more fun with and make Linger On even more unique.

Tisha is an authentic brush display font. It has a bold, rough texture and as a result, it makes each of your creative designs stand out. So what's included : Basic Latin A-Z & a-z Numbers, symbols, and punctuations Swashes and ligatures Accented Characters : ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØŒŠÙÚÛÜŸÝŽàáâãäåæçèéêëìíîïñòóôõöøœšùúûüýÿžß Thank you

MackDutch MackDucth font pair was inspired by old magazine that i saw at barbershop. It was crafted by hand specially to add natural handmade feeling in its brand identity than i make it clean with pentool. We add some rough to make it retro feel, this font is bold so it can look strong if you use it for branding or even title for your retro poster design. Opentype features MackDucth font is a great retro rough font that will looks good in logotype, labels, t-shirt prints, product packaging, invitations, advertising and others. If you looking for retro rough font style, this font is a great choice for you to make your design awesome and flawless. This fonts works with folowing languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu Thank you for using this font. LS

Dragonflight Pro is a script collection of four modern calligraphy fonts. Each glyph was hand-drawn with a brass folded pen dipped in ink. The tip of the folded pen resembles the shape of a dragonfly’s wing, hence the name. By tilting the pen variations in line width are made. This produces fun, expressive letters with a spontaneous personality. The regular and rough version of Dragonflight Pro have alternate glyphs that can either be accessed by the swashes feature, stylistic set 1, or the glyphs panel, depending on the application you are using. There are lots of discretionary ligatures that offer even more variation. By typing _1 to _10 you can access bonus swashes that are part of Dragonflight Pro Regular and Rough. Both fonts have 567 glyphs. Dragonflight Pro Sans is an all caps font with 402 glyphs, also hand-drawn with the folded pen, that compliments the other styles perfectly. Dragonflight Pro Extra offers an additional 117 swashes, doodles and ink splatters. With Discretionary Ligatures activated you can type an underscore in front of a letter and (when available) this gives you the rough version of the glyph.

Cotton is the perfect addition to your graphic design arsenal. With a vintage t-shirt texture, this casual typeface captures the spirit of the twentieth century. Its unique and informal style will make your message stand out from the crowd. And if you’re tired of plain and repetitive characters, Cotton has got you covered. Its OpenType-savvy apps feature letter pair ligatures that break up the monotony and add a touch of style to your designs. So why settle for boring fonts when you can have Cotton? Let this retro-inspired typeface take your designs to the next level and create a look that’s uniquely you. 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.

Taca is a typeface built around a shape that Portuguese designer Rúben R Dias calls a “squircle” — neither square nor circle. We usually associate the rounded, convex box with the television screens of the 1960s and Aldo Novarese’s classic typeface, Eurostile. But whereas Eurostile is cold and machined, Taca is warm and rugged, as if it was molded from clay or carved from stone. Taca’s organic nature is also derived from another unique feature: rounded crotches at the right angles where perpendicular strokes meet. This subtle finish, along with blunt stroke endings, softens the otherwise rigid skeleton. With such a strong conceptual vision, Taca could be relegated to the bin of experimental designs, severely limited in their application. But that fate is usually born of a less experienced maker. As a teacher, designer, and letterpress printer, Dias is a type user, keenly aware of the functional requirements of good type. Taca is therefore not a slave to its concept, but a working font family, effective in various sizes and environments. Its lettershapes break away from the base shape whenever it makes sense for legibility, while still maintaining the flavor of the design as a whole. That said, a set of squircle-shaped alternates give the user the flexibility to get more stylized if the situation calls for it. Fitting to its functional aims, Taca has many of the features one expects of a proper text font: upper and lowercase figures, case-sensitive punctuation, and Extended Latin language support. The simplicity, openness, and squareness of Taca’s forms also make it an ideal design for the pixel grid of screen displays.

Evanston Alehouse is the first font in a larger collection of typefaces inspired by years leading up to the American prohibition. For the past two years I was living in Evanston, IL, a suburb of Chicago. After learning it was one of the birthplaces of the prohibition movement, I set out to learn more about it, and decided to develop a type collection that captures the dynamic era in our nation’s history. In the century that prefaced the ratification of the 18th amendment, saloons, taverns and alehouses boomed as the American working class enjoyed beer and discovered whiskey and gin. At the same time, the Temperance League was forming and gaining strength. By the turn of the century, these temperance societies were common in the culture of the country, with individual towns and states already on the move to abolish alcohol consumption. However, it was undeniable that by this time in history, America loved to drink. This font is inspired by the signage seen outside such drinking establishments. Back to the modern era, Evanston Alehouse is a 25 font family that includes 3 weights, 4 widths and 3 heights. It has special features that add depth to the font, with discretionary ligatures and stylistic alternatives. It also includes a complementary set of ornaments, including line breaks, frames, borders, and laurels. Here’s a snapshot of what you get with Evanston Alehouse: 2 Styles/Postions: Sharp (regular) and Round 3 Weights: Light, Medium and Black 4 Widths: 1826 (condensed), 1858 (narrow), 1893 (wide) and 1919 (expanded) 3 Heights: Capitals, lowercase and small caps 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives 1 Ornament font with over 100 graphic extras

Listen to the rumbling roar of the mighty Kadonk! This barbaric typeface will strike fear into the hearts of your enemies with its brutal and spiky design. Its sharp edges and aggressive curves are as merciless as a battle cry. With Kadonk, you’ll never be held back by plain and repetitive characters. This savage typeface features unique letter pair ligatures that break up the monotony and give your words a ferocious edge. Incorporate Kadonk’s primordial, savage war cry into your messaging and let your audience know that you mean business. With its powerful presence and fierce spirit, Kadonk will help you dominate the battlefield of design. So, sound the drums of war and unleash the fury of Kadonk! 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.