Inspired by vintage books and the pages within, Appareo is an imperfect, worn serif font that comes in three weights. Each weight has a varying degree of distress, from Black, in which the press and ink fully set into the page, to Medium, Light and Extralight, where the texture is heaviest. Each weight also has a custom italics version of each character. To fully give the authentic feel of worn pages of dusty books, Appareo has 5 character variations. Appareo also has a set of graphic elements, including frame, banners, borders, arrows, etc in the same style and texture.

Astrum is a very decorative script font using elegant caligraphic handwritten letters that are all mutually interconnected, creating a unique look & feel of a personalized human handwritting. Its clean and prefined lines makes Astrum very appealing and modern, although being very classical in its core essence. The idea for the creation of this font had originally came up from the need to create a beautiful design for Weddings, wedding occasions, etc., but none of the existing fonts were satisfactory - so I decided to create a new and unique typeface to fill this need. Letters and other characters are recognizeable by prefined ornaments, incorporated in a very subtle way. Whitespace between capital letters, lower-case letters, numbers and other characters are done in a way to minimize the need for kerning. The font Astrum, besides being a celebration of class and exclusivity, is a very luxurious and elegant handwritten font perfectly suited for Wedding cards. The character set for this font contains all western, central-european latin and cyrillic characters.

This is a series of elegant ormnaments created for Valentine's day. Each ornament is designed with care to ensure that it can be used at the largest sizes.

Futurum Parqez is the first collaborative font for Parquillian Design. The idea for this font first came to the creator, Jose V Lopez, almost 40 years ago. A couple years ago he shared his concepts and we were gradually able to collaborate on editing the designs and turn them into a working font. The philosophy behind the font is to use a standardized frame format and the fewest strokes possible, while maintaining legibility, to create an original minimalist and modern style.

Phoenician/Canaanite The Phoenician alphabet developed from the Proto-Canaanite alphabet, during the 15th century BC. Before then the Phoenicians wrote with a cuneiform script. The earliest known inscriptions in the Phoenician alphabet come from Byblos and date back to 1000 BC. The Phoenician alphabet was perhaps the first alphabetic script to be widely-used - the Phoenicians traded around the Mediterraean and beyond, and set up cities and colonies in parts of southern Europe and North Africa - and the origins of most alphabetic writing systems can be traced back to the Phoenician alphabet, including Greek, Etruscan, Latin, Arabic and Hebrew, as well as the scripts of India and East Asia. Notable features Type of writing system: abjad / consonant alphabet with no vowel indication Writing direction: right to left in hortizontal lines. Sometimes boustrophedon. Script family: Proto-Sinaitic, Phoenician Number of letters: 22 - there was considerable variation in their forms in different regions and at different times. The names of the letters are acrophonic, and their names and shapes can be ultimately traced back to Egyptian Hieroglyphs. For example, the name of the first letter, 'aleph, means ox and developed from a picture of an ox's head. Some of the letter names were changed by the Phoenicians, including gimel, which meant camel in Phoenician, but was originally a picture of a throwing stick (giml).

Gatsby SF portrays the formal elegance of Art Deco, using the rounded shapes typical of the Art Deco movement. The upper case characters are decorated with a classical Art Deco motif, while lower case characters have been left unadorned for increased readability. Gatsby SF functions well as a display font and creates attention-attracting headers and subheaders. Fully professional, Gatsby SF contains a full character set - Upper and Lower case, all numerals, punctuation, symbols and accented characters. It is suitable for layout work in all major European languages.

This font was made possible by creating a custom brush in Illustrator. I started with a flat brush dipped in India ink to create the stroke. From a scan of that stroke I made a vector tracing which I then I altered as necessary to get the desired dimensions. The lower case letters have a thinner stroke than the capitals.

The full extended version of the popular 'Jenna Sue' font. A casual handwritten font, handmade with care.

Free interpretation of the classic Gothic Tuscan 1, by William Hamilton Page.

Inkster breaks all the rules. The serifs vary from letter to letter, if they have any serifs at all. The upper and lower case letters intermingle and the contrasting characters bounce all over the baseline. Loosely based on the character shapes of Frisco, I developed a tightly spaced calligraphic version and called it Inkster. Use this artistic font when youre looking for a distinctive style!

“So-called Baskerville Old Face of the type foundry Stephenson Blake & Co. of Sheffield. The Script is probably not immediately linked to Baskerville, but it is very much influenced by it. It is one of the most beautiful types of which the mats still exist; it has an incomparably different spirit than the ‘streamlined’ re-cuts of today’s Baskerville. Even keeping the general restraint extremely expressive. According to Berthold Wolpe (‘Signatures’ No. 18), the punches were cut and shown in samples in 1776 by Isaac Moore, who came from Birmingham to Bristol.” – Jan Tschichold, “Meisterbuch der Schrift”, Notes On The Plates, Page 231 Publisher note: I wanted to improve the contrast between thick and thin, reduce some ink-traps and give stems, serifs and links a smoother overall feel. I have also added some alternative letters and old style numerals.

A Japanese design firm called Maniackers put together a typeface design in 2001, which they called Snail. This typeface is based on that design, with a few tasty modifications and some industrial-strength kerning, so that the letters literally slither across the page. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Zarlino is an original typeface in the Blackletter style. It does not solidly adhere to any of the historical Blackletter classifications, but draws from all of them, with some characters owing more to the Roman than the Fraktur. Zarlino Delux includes three complete sets of upper case, ranging from the simple to the embellished to the even more embellished, two complete sets of lower case, and two more sets of embellished alternates for selected lower case characters. These alternates are available through Stylisitic Sets in OpenType aware applications. For use in non-OpenType aware applications, Zarlino Delux comes with a set of separate, standard fonts, one for each style. These standard fonts are also available for individual purchase. Zarlino was named by my cousin, a musician. Gioseffo Zarlino was a sixteenth century composer and musical theorist. Among other things, he offered detailed advice on the setting of words to music. With its blends of the old and the new, the simple and the ornate, Zarlino is suitable for many uses, from the elegant to the aggressive.

Unfortunately, Crosshair was inspired by the youthful craze that's all the rage: on-campus shootings. Put the gun down, Junior.

Amidst the pages of the 1946 foreign-printed "100 Alphabets Publicitaires" ("100 Advertising Alphabets") was an example of a beautiful vertical script type design with a somewhat calligraphic look. This became the work model for Script Spot Initials JNL.

While this bold, chamfered typeface may look like a sports font, it actually came from the opening credits for the 1955 Western film “The Man from Bitter Ridge”. Game Rules JNL is available in both regular and oblique versions.

The 1992 edition of The Solotype Catalog called this singularly strange typeface "Wilcox Initials". In case you're interested, this version features ducking accented lowercase characters. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

OldHaroldRee is a modification of PhederFrack, a calligraphic fraktur face. It keeps the lower case letters and inserts a completely different set of upper-case letters, which is in the “Old English” rather than the “Old German” or fraktur style. It comes in two weights, a bit unusual for an Old-English style typeface.

Claudium started as an attempt to create a sans serif version of Garamond. As time went on it gradually became a meditation on the nature of French typography from Garamond to Excoffon. It was especially influenced by Cassandre's type for the Orly airport which seems to epitomize certain aspects of the French character�at least in typography. Attempts to create an italic met with disaster. Gradually, after lots of Cotes du Rhone, a cursive, based on Garamond�s Greek forms, emerged. It came at a time when I was looking at lot at Victor Hammer�s uncial and Andromaque cursive. So Claudium Cursive was developed as a lower case only and mated to the Claudium Regular caps ala Griffo�s original italic type. In keeping with the cursive lowercase there are cursive oldstyle numbers.

Dickybird Doodles? A dickybird is an ordinary bird, not a raptor or game bird. This illustration font has 32 of them. Birds in a cage, on a wire, in a nest. A flamingo, toucan, sandpiper, cardinal, penguin, heron, chicken & rooster, hummingbird, swan. Some line, some reverse and one with polka dots.

Discovered within the pages of a turn-of-the-Twentieth-Century specimen book of the Società Nebiolo of Turin, Italy, was this little gem, which shows both antique and Art Nouveau influences. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.

The Algerian designer Taouffik Semmad created the fonts in 1997. Taouffik Semmad grew up speaking Algerian-Arabic dialect and French, studied Russian, and is now living in Montreal. This could perhaps explain his current passion, to "find a universal writing", which he admits is a Utopian idea. Created with brush and Chinese ink, the characters of ITC Atmosphere came from Semmad's hand but only after they were fully formed in his mind's eye.

Uptown JNL was found amidst the pages of a 1944 edition of the vintage lettering design book entitled "Sixty Alphabets". This lovely Art Deco typeface has slight curvature to the straight lines of the letter forms and a wonderful hand-lettered look.

Wet is a experimental typeface -- I drew all the glyphs by hand. I came up with this font idea after all the positive comments I received from my Type Treatments project I publish recently on Behance.

High-quality type design. Originally designed for headline / logo use. A lot of high-quality glyphs designs in this one so be sure to view the specimen PDF as well as the glyph page. Enjoy. - Kostelansky

Another gem found in the pages of "Alphabets A to Z": rustic and rollicking fun in one face. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The name of the font is chosen to suggest its main purpose—setting multiple pages of text. All the features in this family were made with that in mind—legibility, distinct italics, small caps and various OpenType features, all make this font a useful tool for typographers. On the other hand, for packaging, posters, logotypes, etc. setting heavier weights in large size brings out its display qualities. Pagewalker is very legible and appears to be larger than other text typefaces. That is because the lower-case characters are made large compared to the capital letters. This means it can be used for setting text in, e.g. 9 pt size—while appearing to be 10 pt, but occupying less space. Pagewalker has a character set to support Western and Central European languages, and an extended set for monetary symbols which, in combination with tabular numbers, is perfect for financial reports. Each weight includes small caps, ligatures, proportional lining and oldstyle numbers, tabular figures, fractions and scientific superior/inferior figures.

The way I used the write songs on a cassette-tape case, turned into a font for you.

Filigree, reminiscent of the delicate lace and jewelry produced in Europe in the 16th to 18th centuries, was inspired by the font Always, and by the way in which the threads (or filia) of the characters in Always intertwined. It has a soft, wafty character. It is best used as a display font at a relatively large size. At too small a size the delicacy of the individual filaments will be lost. Best results also from a combination of upper and lower case characters. Using upper case characters alone will not look as good. Alternate characters and ligatures are also included. If your application program supports "kerning" then I suggest that you turn it on. Although not essential, this will enhance the spacing of the letters. The font contains over 272 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It also includes a number of "open-type" characters - these enhance the flexibility of the font by providing alternatives that are used either at the discretion of the designer or are determined by the circumstances in which the font is used. It has all the accented characters used in the major European languages.

When the Adventures of Max Faraday began in the pages of Wildstorm Comics' DIVINE RIGHT in the mid-'90s, this chapter title font materialized, eventually reappearing on the covers of WOLVERINE. Delicately crafted by Mister Fontastic himself, John Roshell claims this font was the product of Divine Inspiration. When told he'd been looking at the work of too many French Poster Artists, he dismissed such allegations as Mucha do about nothing.

Evening Paper JNL, one could say, was "culled from the headlines". It was. The front page headlines from some 1938 newspapers archived online were the basic model for this font. The typeface design goes back to a font first issued by Ludlow in the 1920s.

Cross Stitch Discreet is based on upper case characters 16 stitches tall and contains upper case characters A-Z, ampersand, exclamation and question marks, comma, period, colon, and semi-colon. The Gallo foundry now offers 174 font styles.

ZILETTI POP is a font used by Girolamo Ziletti in Venice in mid/late 1500. A typographic caracter characterized by a Venetian style cage with slight geometrical imperfections but with a great perceptual level. This is a multilayered variant with a wide range of possibility in variations in terms of end results. With the use of the color your artworks will have news optical effects. Ideal for Covers, Posters, Logos…

P22 Kirkwall is an unusual and elegant design. The upper case letters have a slightly curved stem that ends in a small serif and wedge crossbars. The lower case letters have a fluid and easy design with end-hooks and long leading serifs. Kirkwall Trim and Bold Trim styles contain an alternate set of lower case characters without the long leading serifs and end-hooks. P22 Kirkwall is appealing for display work and appropriate for short texts and headlines. According to the designer: "The type design is inspired by my meeting with the people of Orkney Island and their culture, and it's my tribute to the St. Magnus Cathedral in Kirkwall."

Marathon was originally designed by Rudolf Koch in 1931 for Schriftgiesserei Klingspor. It is a roman with short ascenders and descenders. The serifs are small, but longer at the ends of the arms of E, F and L, M is rather splayed and is without top serifs, like M in other typefeaces designed by Rudolf Koch. The lowercase g has no link and an open tail, again like the g in other Koch types. U has the lower-case design. In the W the middle strokes cross, the lower case w has no middle serif. The figures are short-ranging. Ute Harder from the Fachhochschule Hamburg had redesigned Marathon with the help and supervision of Professor Jovica Veljovic. She has added a book weight to offer more flexibility with this beautiful typeface.

Vincenzo is based on a beautiful condensed typeface from the 1920s or earlier; original designer unknown. This is a "Modern" style with fine slab serifs, vertical stress between thick and thins, and high contrast. What is unique about this design is that the triangular serifs (e.g., E, F, L, T, etc.) do not gradually taper as they join the rest of the letter, as would be the case in Bodoni and similar designs. Uppercase only.

Knightsbridge is a robust, bold italic, which Alan Meeks designed in 1975. This typeface appears to be a wholly new interpretation of the alphabet, free from specific typographical/historical references. This courageous assertiveness extends into the very design of the letterforms, making them feel secure and assured on the page. Knightsbridge is the perfect typeface for newsletter and magazine headlines, and it may be used for various advertising typesetting purposes as well.

Horror/Metal/Punk upper case only font with varied double letters (open type feature). Open type Latin Pro with alternate upper case using the lower case, and varied double letters for an even more genuine handwritten look. (Open type feature.) Ink on paper, carefully and meticulously touched up digitally so that all letters will look good printed in bigger sizes.

Rialto Script is inspired by old polish neon signs and their very imaginative and expressive lettering. Neon signs were designed by great Polish artists and architects during communistic times in Poland. A large number of alternates and swashes make every word unique, just like the neon signs were in this period. The typeface is designed to evolve as your type. It contains contextual alternates, basic and discretionary ligatures, initials and swashes. There are swashes for capitals, beginning and ending swashes in lowercase, plus dash swashes in lowercase. Lower and upper case contain a set of block letters which you can find by turning on Small Caps. Rialto Script is a monolinear display swashed script and came from dynamic and rhythmical handwriting. All of the glyphs sit slightly above the baseline with a slanted axis. Rialto is perfect for titles, logos, signs and of course, neon signs.

The Core Sans ES Family is a rounded version of Core Sans E and a part of the Core Sans Series such as Core Sans N, M, A, G, D. This is a modernized grotesque font family with horizontal terminals, low stroke contrast, enclosed apertures and little line width variation. Its tall x-height makes the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans ES Family consists of 9 Weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black) and Italics for each format. It supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Mathematical operators and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions, Case Features and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.