Chatham is part of the "Staunton Script Family" of fonts designed by Ted Staunton for his historic novel centered around a family bible and the handwritten annotation through 7 generations. The Chatham font is overtly crooked and has an extreme right-leaning slant—perhaps we should call it "Cheney".

This font was inspired on graffiti texts, sentences of street walls. The intention it's to give an style of old school words spreaded on some walls around the world. This can be cool for an design of a poster, headlines and so on.

Here's a Collector's Item Classic for all our fiends! Sit up in your Caskets and we'll help you spin a Shocking, Suspense-filled Tale of Terror with a font Bad Bad Leroy "JG" Brown found in the Vault! Give us your grimy little dimes and come down into the Crypt with us. We call this rotten little font... RIGORMORTIS! AHAHAHHAHHHAHHHHAHA-HAH-haa... Features: Four weights (Regular, Italic, Bold & Bold Italic) with alternate uppercase characters. Includes Western and Central European international characters.

ION A is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION A are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

ION C is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION C are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

ION B is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there’s a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION B are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what’s important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

Armature Neue Sans is an extension of the original Armature Neue family released in 2010. Like Armature Neue, Armature Neue Sans consists of six weights with accompanying italics. Armature is one result of my interest in typefaces that are constructed, rather than drawn. Although it is basically a monoline design, there are subtle details throughout that compensate for a monoline’s evenness. As with all fontBoy fonts, there are dingbats hidden away in the dark recesses of the keyboard. When I first started designing this face in 1992, I called it Dino - I thought I would name all my fonts after famous pets, so the dingbats for Armature are dinosaurs. To access the alternate characters (closed counter B and R, and others) use Stylistic Set 1 or the glyphs palette in your OpenType-enabled application. Designed by Bob Aufuldish with editing and production by Psy/Ops.

An undeniably Art Deco font with some unexpected twists and turns, this typeface is based on a design originally called "Dignity Roman", a product of the fevered imagination of the rather unconventional 30s lettering artist Alphonse E. Tripp. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

One of the more elegant script fonts available, this design is based on calligraphic handwriting called "Copperplate" because of the copper plates that it was etched into for reproduction. This face is not related to Copperplate [Gothic] by the American type designer, F.W. Goudy. The name Copperplate comes from the fact that writing masters used to hand-write their books and then send them to an engraver who recreated all the subtle details onto copper plates, which where then used to print the handwriting books.

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, short descenders, tall ascenders, the narrow, italic version, completing the Gothic Special family of 5 fonts in total, sans serif.

Tokoloshe is a name in African mythology for a mischievous leprechaun-like figure that loves practical jokes and tricking people. There are many books of such African stories, for example Tales of the Tokoloshe by Pieter Scholtz. The letter shapes that I used in the Tokoloshe font have inspiration from two sources: -- the spiky character of the font was derived from the wonderfully imaginative, wooden carvings of the Makonde people of beings called "shetani". The word "tokoloshe" is used by other tribes, but from his behaviour, he is certainly a type of shetani. -- some of the letter shapes were informed by Art Deco styles of fonts, for example: Kunjani, Black Tie SF, Selznick Normal, Zaire SF, Binner Gothic and ITC Anna. But the Tokoloshe font, like its namesake, is much more freespirited. Use this font whenever you want to suggest the rich artistic, cultural and spiritual heritage of Africa. The font is fully professional in terms of its character set. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). In fact, it has all the accented characters used in the major European languages.

Visine FF is a typeface that aims to question the geographical borders that in so many ways can define people's lives. It was developed with the experience of advertising and commercial use in mind. The name Visine can be translated most simply as HEIGHTS. Visine FF was developed out of the necessity to make the most of the space on the visual format. With the tall arches and narrow bodies with exceptional, easy-to-read features, Visine FF aims to complement visual languages in many linguistic regions. Visine FF was developed in the Balkans, where Cyrillic, Latin and Glagolitic were the three historical writing systems used in the former Yugoslavia to denote cultural, ethnic, religious and political identities. Today, the languages of the Western Balkans are so similar that they can easily be called dialects, although they are written in different scripts. This is the result of their coexistence and parallel evolutions, which gave a rise to the common traits. This font family celebrates all the languages and scripts of the Western Balkans and is a labour of love. Love of design, love of language and the human need to communicate across borders, cultures and identities.

Pronk - move forward by leaps and bounds This family includes Clean, Rough and Outline - You're welcome! This is an all caps, tall, bold and round sans serif display font designed for retro-modern designs. This font is perfect for your next logo design or magazine titles. Taking inspiration from many tall fonts and American number plates I created a display font that would be my 'go-to' for a neat tall, bold font. I also wanted something which would take a good amount of treatment like stamp effects and grunge. Pronk works brilliantly as a pegboard font and for neon lettering. Pronk pairs perfectly with Stroom and Gill Sans. I really hope you enjoy this font, please don't hesitate to drop me a message if you have any questions. Features: - Uppercase letters - Numerals

HT Pasticceria is extremely eye-catching and high-contrast font. It is a chic typeface with a?sweet?and?perhaps?girly touch. HT Pasticceria is great for use in all kinds of display typography. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Agitha is a lovely, round lettered handwritten font. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates. Fall in love with its incredibly versatile style and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and much more!

Birdland is a sweet and romantic handwritten font featuring a unique up and down flow. Use it for wall displays, product packaging, wedding invitations, social media post logos, and any project that requires impressive typography. It will add a splash of luxury to any design project you want to make! This font is PUA encoded which means you can access all the amazing glyphs and binders easily!

Arnel Vintage Font is a striking sans-serif typeface that effortlessly embodies the rustic charm of vintage stamps, capturing a raw and hand-drawn aesthetic. This font is tailor-made for all your vintage display needs, exuding an authentic and weathered appearance that harks back to yesteryears. With Arnel, you can effortlessly transport your audience to an era of nostalgia and authenticity. Its rough edges and irregularities in letterforms evoke the tactile feel of aged ink stamps, giving your designs a genuine vintage appeal. Whether you’re creating posters, labels, or any project that calls for a touch of vintage character, Arnel Vintage Font adds a unique and nostalgic flair. It’s like unearthing a hidden treasure in the world of typography, making it the perfect choice for projects that aim to evoke a bygone era’s timeless charm and authenticity.

I was listening to an Opeth album called Blackwater Park. By the time I had decided that this font needed some swirls, the band was playing a song called The Drapery Falls - which has the word ‘spiraling’ in it (see poster 2) - and the name was born. Spiraling down is a surprisingly elegant font (given its roughness). I probably wouldn’t set a whole text in it, but it will really stand out as a titling font for packaging or book covers.

Crisp, classic and compact, Oxbridge is a distinguished display font ideally suited to branding luxury goods or other applications which call for a combination of style and authority.

Romeo Juliet is a beautiful and romantic handwritten font. It features amazing sweet heart-shaped titling. These sweet handwritten fonts with connecting hearts are great for creating personalized items. This font is PUA encoded which means you can access all of the cute glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards, and many more.

Introducing a new retro pop script called Doskyball Inspired by '70s script letters. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

A fun and fresh font that encapsulates both summer and winter with its tall, hand rendered style. A versatile style,the family works well for all kinds or projects from window displays to music albums The Sun and Rain family consists of three weights, light, regular and bold. The weights cover diacritic, Greek and Cyrillic.

Reaver is my attempt to create a horror or bestial font that doesn't conform to the traditional stereotypes of either. A few have called it Geigeresque, and an earlier name for this font - Chupacabra - also inspired.

The Killegar family is inspired by one of the great houses of Ireland...Killegar—which is on the grand Estate of Killegar. I lived there for many years. It is a quiet and peaceful place surrounded by lakes and trees and is inspirational in so many ways. All of my creative talents were boosted by this amazing two hundred year old building with all of it's secrets and heritage. Time stood still in Killegar....except for me and my modern day computers, cell phones and fax machines. This twist of fate, with me living both a rural and hi-tech life, living in an environment of the early 18th century, with the friendliest local people on the Earth, played it's part in the origin of the Killegar family of fonts. Tony Fahy

Alfazine Script is a bold and spirited script with extensive ornate detailing. This versatile font is evocative of antique signpainters' letters, circus wagon & carnival booth graphics, groovy 1960s psychedelic scripts, and even sportswear team insignias, all combined with a modern approach towards lively curlicues and ball finial stroke ends. As with all other font offerings from Mysterylab Designs, we take great care with artful kerning and weight-matching of glyphs to allow this font to be used not only at attention-grabbing headline and logo sizes, but also at small body copy sizes in extended passages. Alfazine also features an extruded shadow version that's very useful for designing logos and customized layered lettering.

Say hello to Grande Sans—a geometric typeface that features highly stylized capitals with sharp corners, circular forms and generous proportions. Specifically created for visual impact—use Grande Sans when you want your words to stand out from the rest of the crowd. The concept is modern, futuristic and non-traditional. Perfect for display text, logos and headlines. The development of Grande Sans started in 1997, inspired by Alex Kaczun’s best selling grotesque font family called Contax Pro. Grande Sans is specifically introduced here as a black weight, but Alex plans to expand the design to include many weights, styles and alternative design treatments. Stay tuned! If you like Grande Sans—check out Alex Kaczun’s Decrypt fonts as well as all of Type Innovations fonts here.

Introducing our newest font called Manche. is a sans serif font with a geometric feel, The younger brother of Counte, made with the same �blueprint� but this font is developed more from the previous experience of designing Madani fonts. Equipped with 3 types of Width and 9 Weight as well Oblique resulting in 54 font family. This font is designed for the needs of digital printing, text, display and others so that it provides many options for various functions. Available in many languages and opentype features.

Even though the phrase Art Nouveau originated in Paris at the shop of Siegfried Bing, the French preferred to call it Le style moderne. This very sinuous, very Art Nouveau typeface was designed by an E. Mulier around 1894, probably also in Paris. The organic, vine-like curve forms are frequently seen in the art of the period. Examples include the architecture of Victor Horta, the furniture of Henry van de Velde and the jewelry of Max Gradl. Mulier Moderne is an all-cap font with a full Western European character set plus ST and TH ligatures, an alternate ‘E’ and two glyphs of period printer’s cuts. Warning: do not use for extended text. Duh!

The face exudes Edwardian elegance, based on a 1905 release from American Type Founders called Meriontype. It's evocative of simpler times. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The old characters of the 8th century are the inspiration for this font. Specifically those used during a remote time of the Basque Country - or waskonia as the Franks would call it - in the old gravestones and doors entryways.

Sicret is a perfectly geometric typeface family. It was drawn by Måns Grebäck in 2020, and each one of its glyphs was manually created by following a strict mathematical pattern consisting of only two basic shapes, in four different combinations, set on a three units tall grid. The resulting product is a true monoline font with a solid character, with an official look while yet going towards sci-fi because of its digital nature. The family consists of nine weights: Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, Extra Bold and Black. The range of weights makes it very adaptable, and all the weights works very well together to give a sentence or graphic tone and emphasization. As Sicret is a font with over 850 glyphs, it is guaranteed to contain all characters you'll ever need, including all punctuation and numbers. It has a very extensive lingual support, covering Greek, Cyrillic, Hebrew as well as European and American languages.

A revival of one of the popular text fonts of the 19th century, suitable for text or display, short descenders, tall ascenders, the regular text version.

We named this font Scholz Secession. Fin-de-siecle Vienna, Austria is the source of this Jugendstil design from Schriftgiesserei Eduard Scholz. The original release was under the name Reklameschrift Secession. Most of the curve strokes look like commas to me. The letters are as soft and plump as the comforter on the bed I slept on in a Salzburg B&B many years ago. I was traveling with a college buddy and our next stop was Vienna. There a kind, young student named Hanna and her boyfriend took us under their wing. One of the places Hanna proudly showed us was Otto Wagner’s Majolika Haus, built in 1898, and only about 8 blocks from Secession Hall. Hanna explained to us that the style was called Jugendstil and represented Art Nouveau as interpreted within the framework of their culture. I even took a picture. After all, memories are part of who we are. Figures are old-style for text use. This font would not be my first choice for a spread sheet. Included are German ligatures ch (alt-0123) & ck (125), two period ornaments (135, 175) and lower case o and u with Hungarian long umlaut (215, 247)). A very likeable and easy-to-use font.

Introducing our newest font called Makwus, one of our newest premium fonts based on Arabic style. This elegant font has a targeted audience and is perfect for personal and professional projects, from social media ads to business cards to your logo and project headers. This Makwus font designed by experienced typographers can bring a beautiful new level of luxury to your designs.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Gullywasher is distinguished by its unusual letterforms and “pineapple” serifs. The font takes its name from a Texas term for a heavy rain. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Aduana is the first typographic product of argentine-chilean typographic archeology project called "Valpo. Ciudad de Letras" (Fabio Ares & Karin Thiers, since 2016). Based on the letter located on the front of the Customs building (Valparaíso, Chile). The resultant family can be described as display type and modern renaissance style, with geometric shapes and serif and mild line modulation. The proceeds from the sale of the fonts will be used to finance the project.

The Boston Type Foundry called the pattern for this elegant typeface "Moslem," suggesting the exotic appeal of faraway lands. The face succeeds in fulfilling its promise, with remarkably little extraneous fussiness. The font's name suggests that it's a wise choice for headlines which tout the lure of distant charms. Both versions of the font include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.