Labours is a bold strong handcrafted typeface, inspired by an old and rustic signs on the street. Designed for any vintage purpose. suitable for Posters, Logotype, T-Shirt design, and many other vintageous design!

A handwriting font with a decidedly sexy, Mediterranean flair. Perfect for restaurant signage, menus, party invitations and more. Sangre includes a plethora of European characters.

Omnidirectional Arrows JNL is a series of arrow dingbats in different shapes and directions in both solid and outlined drop shadow versions from Jeff Levine.

Yeah, Baby! You wanted the World’s Greatest Comic Book Fonts and we gave them to you! They're Sexy DropCaps! They're Saucy Dingbats! GIRLS!GIRLS!GIRLS!

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Umidus font - Trippy wavy liquid decorative font, which works perfectly for bold titles, Festival posters, as a graphic element for bright T-shit or hoodies, or even backgrounds! This weird and ugly font likes an experiment with spacing and different deformation. Please, don't hold back on your bold modern ideas! ------------------- You will receive: - 3 OTF files (3 font styles: plane black, transparent outline, black with highlights) - ATTENTION! font comes WITHOUT any photos, textures, or effects.

Flourish breaks the mold of traditional typography. Part italic, part roman, this iconoclastic font is all style. William Millstein casts the contours of formal pen strokes in a taut upright framework to create a typeface that nods back to its origins while looking defiantly forward. The neat and light semi-serif flaunts crisp geometric touches without conceding warmth or personality. A sophisticated design solution that isn’t stuck up, Millstein Flourish makes invitations, identities, and editorial settings thrive. Originally offered by Photo-Lettering in the early 1940s, Millstein Flourish was digitally updated by Jeremy Mickel in 2011. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Meccanica is pretty unique and difficult to describe, suffice to say that it’s a geometric sans typeface with some hexagonal DNA. Meccanica’s defining features include soft, chamfered edges, angular bowls and shoulders, angled/hexagonal terminals, and semi-hexagonal ink traps (in a nutshell). View the microsite for full info: http://meccanica.info Meccanica was inspired by the mechanics of engineering – the humble nut and bolt in particular – it is a versatile typeface that will give your own typography a distinctive voice. Initially designed as a display typeface (for headlines, logotype, branding and short runs of text), Meccanica also reads well as body copy – particularly at smaller point sizes. Key features: • 9 weights in Roman and Oblique • Small Caps and Alternates • Full European character set (Latin) • 640+ glyphs per font.

Introducing Polarized—the innovative and ultramodern typeface that redefines the concept of digital display type. Inspired by the iconic seven-segment liquid crystal numeric displays, Polarized encapsulates the essence of technological advancement through its angular and geometric design. With its unique corner logic, Polarized provides a distinctive and futuristic look that sets it apart from other typefaces. Whether you’re creating a digital interface or a sci-fi themed project, Polarized’s sharp and sleek design will add a touch of technical elegance. But that’s not all—Polarized’s versatility doesn’t stop at its design. It features a range of currency symbols, numeric ordinals, primes, and OpenType fractions, providing the flexibility and functionality that you need for your project. Available in Extra-Light, Light, Regular, Semi-Bold, and Bold, with obliques, Polarized offers a range of weights and styles to suit your specific design requirements. Whether you need a subtle accent or a bold statement, Polarized has got you covered. Incorporate Polarized into your project and experience the power of a typeface that blends cutting-edge technology with contemporary design. Get ready to bring your work to the next level with Polarized. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Basic Stencil JNL was inspired by a lettering stencil sold by Dymo around 1968 that featured a sans serif design with rounded corners and an overall square look to the characters. This bold stencil design is available in both regular and oblique versions.

RealScore Script was inspired from the old west-coast music copyists. It is a handwritten font coming in 8 weights: Realscore Script Light Realscore Script Light Italic Realscore Script Light Oblique Realscore Script Regular Realscore Script Italic Realscore Script Oblique Realscore Script Bold Realscore Script Bold Italic Realscore Script Bold Oblique RealScore Script fonts can be used with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun!

Raffish is a display typeface with its formal base in Dutch type designer Henk Krijger's seminal typeface Raffia - the most decorative and handsome of script typefaces.

See also some related font families: American Advertise 013 , American Advertise 014 , American Advertise 015 , American Advertise 016 , American Advertise 017 , and American Advertise Square Series .

Letterpress Helpers JNL continues a series of vintage cartoons, border and corner elements, stock designs, sales helpers and other embellishments re-drawn from vintage source material.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Jefferson Pilot’s unusual letter treatment isn't for every project, but for projects that need a great "old-timey" look, it’s perfect. Named for a city in East Texas that was a port city on the late 1800s, but today is landlocked. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Magnetica font family combines design simplicity of modern sans serifs with a futuristic feel based on semi-rounded concept. Its fluent lines can bring unusual spark to logo designs, headlines, magazine designs, quotes, documentaries, advertisements or similar projects. This font, especially its Italic variation, will find its use also in larger text blocks where simplicity, clean lines and well applied kerning is a must. Create something spectacular with Magnetica.

P22 Cigno is a new digitization of the 1950s Italian typeface by Aldo Novarese for the Nebiolo foundry. This semi-formal script has a definite mid-century European flavor suitable for menus, invitations and poster work. Along with the accurate rendition of the regular weight, designer Colin Kahn has added a lighter companion font for another variation on Cigno. Both fonts feature a full Western European character set.

A vintage British lettering stencil was the inspiration for Sandwell Stencil JNL, which is available in both regular and oblique versions. This pleasant and condensed stencil font was originally a semi-stencil – many of the characters were made as solid letters ,while the others had a traditional stencil treatment. For the digital version, the stencil treatment was applied to previously solid characters to create a consistency in the overall design.

Cygnito Mono Pro™ is a monospaced type design built with 3 shapes: circle (rounded), squircle (semi rounded) and octagonal structure. This pro version come with 4 styles with 3 weights each. Inspired by industrial design and modernism. This font built with modular architecture that’s ideal for programming applications and technology-driven design projects. It’s also well suited to design projects centered on mathematics, science, computers, and UI/UX applications.

Calder is a display typeface collection. It incorporates 10 styles and offers two distinctive voices: a playful semi-connected script and a selection of subtle yet authentic sans serifs. Designed to complement each other, they offer a unique and engaging visual tool. Inspired by the pursuit of the outdoors, Calder began as a personal experience and endeavor to express and share the spirit of adventure connected with this renewed, growing movement.

I am here to deliver! I used a semi dry brush for this font, and when views at large sizes you can really enjoy the brush traces. The font keeps the authentic feeling of something hastily written with a brush. Along with he very tight spacing and kerning, it does it job! Quite good for headlines that needs that extra punk, or T-shirts design, posters, Instagram photos or interactive designs!

Magnesia Sf is a modern, one-of-a-kind font that will make your designs stand out against the competition. This stylistic semi-block serif comes in 4 styles and has Multi-languages support and the display typeface has what you need for all sorts of projects! Perfectly suited for headlines, large-format prints, brand identities, social media, advertising, editorial design, posters, magazines, logos, headings, digital and more.

Look Like Coffee is a Display font. This font describes about fun, semi casual, stylish, headline, easy going, dynamic, and easy to use. FEATURES - Support Opentype Features - Support Ligatures - Numbering and Punctuations - PUA Encoded Characters - Multilingual Support - Works on PC or Mac USE Look Like Coffee works great in any product packaging, logotype, magazine, editorial, quotes and any projects that need all about fun and dynamic taste. Enjoy using! Thanks. HIRO.std

Avancar Condensed Font Family showcases the exquisite pairing of modern grotesque style and soft sans-serif design. These conjunctions provide the effect of owning two subfamily typefaces and are an amazing solution for designers. The main feature of this font family is a semi-condensed design with a slightly higher x-height. And, while having the same skeleton design and stem width, they provide a completely different look and feel.

Flottenheimer was done with a semi dry pen, that leaves the strokes quite rough. Some letters are more rough than other, giving a very realistic overall look to the text. To add more spice to the realistic look, I have added several versions of each letter. That means that there is 5 different versions of each letter that automatically cycles as you type! Packed with loads of accented characters!

Spirited, unaffected and buoyant, the ITC Oldrichium type family pays homage to the calligraphy and typeface designs of Czech designer Oldrich Menhart. “I came upon one of Menhart's typefaces over a decade ago,” says George Thompson, designer of ITC Oldrichium. “I've been collecting examples of his work ever since.” Thompson was born in Chicago and grew up in north-west Indiana. “While I've been an educator and general graphic designer for over 30 years, lettering and type design have always been an important part of my work,” he says. Thompson now spends much of his free time designing typefaces. ITC Oldrichium is a subtle melding of the shapes and proportions of Menhart's Manuscript typeface, the energetic strokes of his calligraphy, and Thompson's own design skills. The result is a distinctive, powerful, and exceptionally versatile typeface family. Available in light, regular, demi bold and bold weights, with corresponding italics for all but the bold, ITC Oldrichium is comfortable setting both text and display copy. In addition to the basic weights, Thompson has created an Engraved version for those times when an especially powerful statement is called for.

Page No. 508 was designed by William Hamilton Page in 1887 as one of a series of designs for die-cut wood types for the firm of Page & Setchell of Norwich, Connecticut. Page & Setchell was the successor to The William H. Page Wood Type Company and was sold to the Hamilton Manufacturing Company of Two Rivers, Wisconsin in 1891. 508 is a heavy all-caps font designed for headline work. It has a strong presence that reverses out well (light-colored type on a dark background). Great for retro style posters.

Core Sans AR Family is a rounded version of Core Sans A that is clean, simple and highly readable. It is a part of the Core Sans Series such as Core Sans N, Core Sans M, Core Sans E, Core Sans A, Core Sans D, Core Sans G, Core Sans R and Core Sans B. Letters in this type family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans AR family consists of 8 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy) with their corresponding italics. Core Sans AR contains complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Compatil from Linotype is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights including italics have been merged into a unique typographical network. There are now no limits to the font user's creativity.The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards. Compatil is a typeface family from the Platinum Collection. This series was created for the highest quality demanded by professional typography and includes complete families digitized using the newest technology, serving the specific needs of corporate design and similar projects. This Value Pack contains four different type styles of the Compatil type system: Linotype Compatil Exquisit Pro Regular, Italic, Bold and Bold Italic. These Pro fonts include the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign.

A rounded slab in 4 styles In our age, since the arrival of microcomputing, the majority of professional letters have been composed in quality typefaces. Typewriters & the typestyles they used have become antiques. A letter set in Times or Helvetica & printed with a laser printer at 600 dpi or more are of such quality that one can no longer distinguish it with a document produced by offset printing. But letters composed in this way appear overly institutional when a bit of informality is needed. Le Monde Courrier, designed by Jean François Porchez, attempts to re-establish a style halfway between writing and printing. Informal neo-tech style This rounded slab serif returns the informal character of “typewritten” fonts to letters and suit well all bad conditions, from inkjet printed memos to webfonts use. With a unique typographic colour, it integrate itself with the rest of the Le Monde family with effective contrast. The verticals metrics and proportions of Le Monde Courrier are calibrated to match perfectly others Typofonderie families. Bukva:raz 2001 Type Directors Club .44 1998 European Design Awards 1998

»XPress« is a very distinct, expressive, typical new Sans. »XPress« is my new Sans-Serif that impresses – especially in small sizes – with its outstanding readability. Seven precisely calibrated weights from »Thin« to »Heavy« and its corresponding italics make this font-family universally usable. »XPress« got its bearings from the fabulous American »Gothic« fonts of the twenties of last century. Modern, present day elements, high lowercase letters and infinitesimal elegant slight curves in start- and end strokes make the font family not only great for body copy, but also very useful in advertising. »XPress« ist eine individuelle, expressive, typische neue Sans. »XPress« ist meine neue Serifenlose die – speziell in kleinen Schriftgraden – durch aussergewöhnliche Lesbarkeit auffällt. Sieben präzise aufeinander abgestimmte Schnitte von »Thin« bis »Heavy« und dazu passende Kursive machen die Schriftfamilie vielseitig einsatzfähig. »XPress« orientiert sich bewusst an den grossen amerikanischen Groteskschriften der zwanziger Jahre des letzten Jahrhunderts. Durch moderne Formelemente, große Mittellängen und unendlich leichte, elegante An- und Abstriche ist die Schrift jedoch nicht nur als Textschrift, sondern auch im gesamten Bereich der Werbung vielseitig einsetzbar.

Inspired by the Techno sound of the 1990s, Alexander Branczyk designed a series of new, wild and controversial fonts which mark a complete departure from typographic traditions.