Satisfactory Craft retro vintage typeface. It can be used to create almost all types of design projects. Just use your imagination and some graphic design set, your project will become more alive and look great. Implementing alternative Contextual features makes it easier for all people to use. Hope you enjoy. Intuisi Creative

Varial Two typefaces are new and updated versions of Varial family created 2014: Extra-condensed Opentype™ sans-serifs with small caps, extended character set (european languages support) and extra features (fractions, ligatures and alternatives). Varial Two is versatile in all design applications, for example all headlines, display use, infographics and more!

Whatnot is a beautiful, hand drawn all caps font. It was made with a fine-liner on smooth paper. Whatnot can be used for almost all designs, in particular for posters, books and ads. Whatnot comes with a full range of alternate lower case letters and upper and lower case are freely interchangeable.

Gatheraz Stylish Display font. Its elegant and cool look makes it the perfect choice for logos, branding, invitations, stationery, wedding designs, social media posts, and so much more. Gatheraz font is PUA encoded which means you can access all of the glyphs. Features : All Caps numbers and punctuation multilingual Alternate Characters PUA encoded

Rain Love is an elegant and modern script font with a luxurious feel. It is suitable for all titles or large writing, e-mail, magazines, book titles, movies, notes, brands, logos, and much more. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

While throned before your keys, under your drumming fingers awaits the most astounding standard computer typeface ever devised: BuGlobal. In addition to all the usual alphanumeric characters and symbols, this lone font lets you type more than 400 accented letters appearing in more than 80 English-variant languages worldwide, 70 common math and science symbols, and dozens of other useful characters —more than half a thousand all told— all within the digital parameters of one standard computer typeface, without needing any alternate keyboards or other clumsy digital luggage. Here is a sample: You can add any accent appearing in more than 80 English-variant languages used around the world to any letter appearing in all these languages simply by typing ANY letter then the accent. This includes more than 400 diacritic-laden letters in all —without needing to remember several keystrokes to type any of these letters as a few of them appear in standard computer typefaces. You can type more than 50 math/science symbols that do not appear in standard computer typefaces. These new symbols include several kinds of arrows plus constants, centerlines, dimensions, and graphs and scales that when retyped create continuous scales and graphs. Common symbols such as ballot boxes, rating stars, checkboxes, hearts, fancy fleurons, and similar motifs that do not appear in standard computer typefaces. Dozens of flashy arabesques like ========= [in BuGlobal these equal signs are kerned together so when you type them you create a continuous double line]. In this typeface more than 30 symbols that never appear twice in a row are kerned together so when you continuously type them you create all kinds of flashy arabesques that will make your typing more attractive. No other standard compute typeface allows you to do this. As for Beauty, BuGlobal’s characters are designed according to several axioms of ocular perception until each profile is as iconically simple as Shaker furniture. These axioms make BuGlobal’s letters easier to read compared to other typefaces, and a few of them are: Each letter should look much like the others but for one defining detail. The letters should be as similarly wide as possible. The letters’ midbars should be the same height and thickness. The higher the lowercase letters are compared to capital letters, the more legible and easily readable are their texts. BuGlobal has a typeface user’s guide, titled A Lovely Face, in which a description of each ocular axiom compares BuGlobal with Baskerville, Georgia, Palatino, and other commonly-used standard computer typefaces so you can quickly see why the other typefaces are inferior. You can download a pdf file of this typeface user’s guide, for free, at BuGlobal’s website, butlerfontforge.com, at any time so you can learn all about BuGlobal’s many amazingly new features before possibly buying it. BuGlobal’s plain letters are perfect for texts, its italics are gracefully emphatic, its bolds are ideal for titles and headers, and its arabesques are a fancy way to make your texts look dressy —all of which will add more shimmer to your semantic plumage. One good typeface is more useful than an infinity of poor ones. Robert Bringhurst

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" Featured in: Best Fonts for Logos

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" ITC Legacy® Sans font field guide including best practices, font pairings and alternatives.

A creative context 2003. Fontsmith was sharing a small, cold, whitewashed studio space in Northburgh Street, Clerkenwell. But things were on the up following prestigious custom type commissions for The Post Office and E4. “Slab serifs were on the brink of another revival, we could feel it,” says Jason Smith. “All we wanted to do was have a play with these slabs, go as far as we could within what was acceptable and readable.” “It wasn’t initially clear what was happening,” recalls Phil Garnham. “We were becoming very influenced by our surroundings, outside the studio space. We absorbed the essence and the designer grime of where we were.” Process Jason began by drawing stems on-screen. “The key aspect of the font is the upward bend of the leading shoulder serif, the way it kind of ramps up and then plummets back down the stem. “The regular and light characters are quite narrow – great for text but the bold is quite wide and chunky – better for headlines. I think ‘y’ is quite different for a slab design. We call it the Fontsmith ‘y’.” Promotion Fontsmith were determined to get FS Clerkenwell noticed. To launch the font, Ian Whalley, a designer friend of Fontsmith, captured words heard on the streets of Clerkenwell, set them in the new font and crafted a small book of typographic conversations. It was a first for Fontsmith. “I think that’s part of why this font has been so successful,” says Phil. “It really does embody the spirit of the area, as a special place for design, arts and crafts. And designers love that.” Contemporary twist FS Clerkenwell, based on influences in and around this part of London with a rich tradition of printing and design, mixes tradition with creation. Old-fashioned values meet new-school trends. Its quirky, contemporary character lends an edge to headlines, logotypes and any large-size text.

A squarish uppercase font perfect for logos and short eye-catching headings. The lowercase contains some alternate letterforms - more specifically: uppercase have closed forms (I made a new A D and R), and lowercase have some open alternatives (new B E F P and T in addition to the A D and R). I noticed the two width version of the H and made similar normal and wide versions of J and L. Then I added lots of missing glyphs and all the diacritic letters, of course - and finally the family has been expanded to 7 weights AND corresponding Italics! Enjoy! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Based on the handwriting and sketches of American experimental composer John Cage, this set was produced in conjunction with The Museum of Contemporary Art in Los Angeles and the John Cage Trust. This unique collection includes 52 graphic extras culled from the composer's notes and scores, as well as the "Cage Silence" font inspired by Cage's seminal work 4' 33".

Bolognia is a classic serif typeface with high-contrast leaning to the concept of contemporary typefaces. Bolognia has a tall x-height value, modern proportion, transitional serif and extreme stroke contrast with vertical stress. Available in 6 weights, this typeface is a good choice to provide clear solutions for a variety of situations and settings such as editorials and headlines.

Dime Store is a font inspired by childhood memories of dime stores in downtowns and shopping malls in the 1970s. The font was tweaked and digitized by Bob Alonso, who also digitized Breauhare’s Cooper Goodtime font. Dime Store is a cool, hip, nostalgic way of creating a decorative display, and at times it seems to have a slightly futuristic look, too.

Show Card Deco JNL is a hybrid of examples from hand lettered titles found on various song folios from the Carl Fischer Music Library circa the 1930s and is available in both regular and oblique versions. This particular typeface lends itself perfectly to show cards, posters, headlines and display titling which captures the modern, streamlined design of the Art Deco era.

Kaldi is a tall condensed typeface that has gone through a natural process of handcraft and refinement to produce a speciality blend. On consumption expect light and dense notes with an earthy undertone. This font family was inspired by the legend of Kaldi – the goat herder who discovered the coffee plant after his goats started dancing after eating the coffee cherries.

Cartesian is a modular typeface that gets its namesake from Descartes’s cartesian coordinate plane and Conway’s Game of Life. Each character is composed of cells that each can be considered either on or off (alive or dead.) The Cartesian family includes Cartesian Serif and Cartesian Sans Serif. Furthermore, both Cartesian Serif and Sans Serif letterforms feature two-to-one stroke contrast.

Introducing the new script font called Herchey. High quality script font with swashes inspired by modern vintage design and baseball logo. Plus OpenType features with Stylistic Alternates, Swashes, Ligatures, Stylistic set, Terminal Form and Ornament that allows you to mix and match pairs of letters to fit your design. This font is good for vintage design, t-shirt, logo, labels, badges, posters and etc.

Introducing our new product called Dasheta Modern Serif Font. A beautiful classy, elegant, and modern Modern Serif font. This font is perfect for a wide variety of projects, such as signatures, stationery, logos, weddings, typographic quotes, magazine or book covers, website headers, clothing, branding, packaging design, and more. Also for branding related to fashion or editorial design and displays both masculine and feminine qualities.

In his book, Brushstroke and Freestyle Alphabets, Dan X. Solo called this fabulous fifties face Maidstone Script. Somewhat less willowy than the original, this version is still righteously retro, and takes its name from a collision between a poodle skirt and pedalpushers, two fifties fashion statements. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Iyannu has no meaning in its self. This font is made to be very quiet and simple yet to be unique. Iyannu is created by Japanese designer and it is designed so called "Retro Future" like cyberpunk in Tokyo. When font is made strictly with mathematic sometimes it looks unbalanced. So this font is mixing mathematics method and optical illusion of view to maintain the clear balance.

This font was inspired by the so-called Litterarum latinarum, quas italicas, cursoriasque vocant, scribendum Ratio (Louvain 1540), a manual intended for calligraphers by the well known scientist Gerhard Mercator. It was a magnificent “Cancellaresca corsiva” design, enriched with many alternates, final loops and ligatures. We have added a lot of accented and other characters required for modern use that did not exist in the original.

Beristone is a beautiful handwritten monoline signature script font. With its elegant and fluid strokes, it exudes a sense of sophistication and personal touch. The font features smooth lines and graceful curves, creating a natural and authentic handwritten look. Beristone is perfect for adding a stylish and personalized touch to logos, branding materials, invitations, and any design project that calls for a refined and contemporary script font.

Introducing a lovely quirky font called "Cute Love Story", a fun and playful font with 5 different font versions. Each version of the font has a different heart decoration. Great for projects related to love. Cute Love Story best uses for valentine, wedding, invitation, heading, cover, poster, logos, quotes, product packaging, header, merchandise, social media & greeting cards and many more. This font is also support multi language.

TpLlum is a typeface designed by TwoPoints for a festival in Barcelona called ‘Montjuïc de Nit’. Llum means light in Catalan. In the Montjuïc de Nit project the font was used in white over a dark grey background, letting the light of a backlit poster shine through. For this purpose the typeface had to be very bright, which was made possible by its heavy cut.

Hedgier - Modern Serif Typeface Hedgier is a modern bold serif typeface called weiss roman. The combination with the width of each letter forms a modern feel and is suitable for various magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. Files Includes: - Uppercase & Lowercase - Numerals & Punctuation - Multilingual - Ligature Drop any message if you any question, Thank you! Fridaytype

“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.

30s inspired geometric inline display typeface Several titling typefaces made their appearance at the start of the 20th century, notably Acier and Bifur, both created by French poster artist Cassandre. Later, in the Netherlands, S.H. de Roos designed a version of Inline for its Nobel family called, naturally, Nobel Inline. AW Conqueror Inline pays homage to this beautiful version. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skillful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011