Caturrita is a versatile family for use in both long texts, and can be used in titles. The characters have fluidity, contemplating the principle of continuity. It has structural strength of the glyphs to be drawn by considering aspects calligraphy. The name comes from the similarity between the characteristics of the bird well known in southern Brazil: drawing the loose, fluid that resembles a flying bird. Moreover, a clear reminder that some of the glyphs are the serifs beak of the animal. Prize Winner Bornancini - Porto Alegre RS - Academic Category Selected Project Muestra de Estudiantes for the Ibero-American Biennial of Design - Madrid - Spain

Manicuore is a hand-drawn typeface inspired by Italian movie posters by the prolific movie poster artist Symeoni (a.k.a. Sandro Simeoni). Being a talented and skilled painter, portraitist and illustrator, Symeoni enjoyed a long and fruitful career and was remarkably productive during the sixties and seventies. He counts over 3,000 works to his credit, which truly fed the imagination of several generations. This all-caps font brings different lettershapes on upper and lower case slots, which work as alternates, providing handy options to spice up your compositions. When using it in OpenType savvy applications just turn on contextual alternates feature to instantly cycle lettershapes – a one click way for adding spontaneity while also preventing neighbor double letters from using the same glyph. To put the icing on the cake, Manicuore brings a cool set of graphic elements that match the typeface look and feel. An inspiring toolbox for creative lettering designs. Now... Lights! Camera! Action!

On April 20, 1950, film comedian Jerry Lewis indulged his love of cameras by opening up Jerry Lewis’ Camera Exchange on Vine Street in Hollywood. It closed in 1951. Thanks to an image preserved within newsreel footage of the shop’s grand opening night, a glimpse of the post-Art Deco signage with its unusual, block style lettering inspired a digital version. Highly unusual and best for novelty projects, Shutterbug JNL is available in both regular and oblique versions.

Bell Centennial was created by Matthew Carter in 1976 for the American telephone company Bell. Its bold, clear characters make it an extremely legible and distinctive font.

Octavian font was designed by Will Carter and David Kindersley for the Monotype Corporation in 1961. Mr. Carter writes: While the ultimate authority is the ancient inscriptional pattern, the physical characteristics of the present rendering are manifest in the economic proportions of the shapes and the modified relations of the strokes. Thus, the letters are narrower than the classical forms and their weight heavier." Octavian is a fine book font and works well for other text settings that are less demanding, such as magazines and brochures."

Shelley Script was designed by Matthew Carter and appeared with Mergenthaler Linotype in 1972. It is based on intricate English scripts of the 18th and 19th centuries. The musical terms Andante, Allegro and Volante were chosen by Carter to describe the mood of the three different cuts of his font. Andante is the most reserved, Allegro has a few more flourishes, and Volante’s capital letters are surrounded with swirling strokes. Perfect for invitations or other cards, Shelley Script, like other fonts of its kind, seems to appeal particularly to America.

Miller Banner takes Matthew Carter’s popular Miller series to new heights: 100pt and up, beyond any examples among the Scotch Roman’s historic antecedents. Optimized for very large settings, its hairlines have been sharpened and the contrast sweetened, lending grace and crisp elegance to banner headlines and titles.

Jim Ford's Hideout typeface is definitely walking on the wrong side of the law. Inspired by the flared serif lettering of antique tobacco tins, its sturdy shapes are confident, eye-catching, and hark back to the Wild West. Large sizes bring Hideout's details to life, emphasising the delicate nicks in its Ks and Rs. For designers that need to soften some of its swagger, a set of decorative alternatives offer a little Art Deco elegance, adding some refinement to its chunky letterforms. With its 14 weights, Hideout is an adaptable design that works especially well when used for display – for example in book covers, packaging, posters, restaurant menus, or editorial. Don't miss the ghost weights, which hint at the kinds of weathered lettering found on faded and peeling Wanted posters.

Linotype Monticello was designed by C.H. Griffith in 1946. Its design is based on James Ronaldsons Roman No.1 and Oxford Typefaces from American Type Founders and was revised by Matthew Carter while he was working at Linotype between 1965 -1981.

This hand-lettered italic script is another versatile font produced by Jeff Marshall. Named after the late Ron Aplin, who mentored Jeff as an apprentice sign writer early in his career. This font includes 19 unique ligatures and 15 alternate special ending glyphs.

Judo ND is a wide-point italic typeface digitized in close collaboration with Helmut Matheis in honor of his long career and loyalty to typographic beauty. It brings spontaneity and elegance to its uses, always maintaining legibility. Judo is a Trademark of BauerTypes SL

Raljon is a display typeface created by designer and lettering artist Mark Robinson. It is a collaboration between the Mmarkk and Teen-Beat Graphica visual design studios. This single font was created over a period of five years. Mark took great care in finessing each character and making sure that each character would stand on its own and yet simultaneously, be an integral part of the whole. The typeface is inspired by Gothic letterforms, horror novels, speed metal bands of the 1980s, techno and electronic music of the 1990s, and Washington, DC football teams whose stadiums lie in the Maryland suburbs. While it doesn’t have multiple weights, Raljon does have a deep depth and breadth. It has a seemingly endless amount of alternate characters and ligatures. There are nine letter Ms, eight letter As and Fs, seven Rs and Ts, and the list goes on. Even the figures have alternates.

Take a little trip to the land of sun and sand with Waikiki Doodles. 30 resort drawings that can be used for Waikiki and other warm weather destinations. From generic tourist icons like palm trees and a camera to the specific like Diamond Head and hula dancer. 29 drawings and the word Aloha lettered in script.

A clear and enjoyable reading experience hinges on the legibility of text copy, especially when reading on screen. This is why Monotype has developed the eText collection of fonts specifically tailored for the text-heavy display environments of e-readers, tablets, mobile devices, and the Web. Matthew Carter designed the original ITC Galliard. Carl Crossgrove created this eText version.

Movie Night JNL was modeled from one of a number of ceramic home movie titling kits on the market that were popular during the 1950s and 1960s. The camera buff would set up the letters against a colored background and photograph clever titles to describe their 8mm home movies of vacations, sightseeing or their darling children (or grandchildren).

Since 1997, The Washington Post’s iconic headlines have been distinguished by their own sturdy, concise variation on Bodoni, designed by Matthew Carter. For the 2009 redesign, Richard Lipton, Jill Pichotta, and Dyana Weissman expanded the family with more refined Display and Condensed styles for use in larger sizes. Originally called Postoni, the fonts were renamed in honor of The Post’s founder, Stilson Hutchins

A 1766 specimen by Isaac Moore, former manager of Joseph Fry’s foundry in Bristol, England, shows many types inspired by John Baskerville’s. But a century later, standardization had foisted inept lining figures and shortened descenders upon these designs. Matthew Carter remedies the tragedy with Big Moore, restoring oldstyle figures, full-length descenders, and historic swashes to this regal serif in two styles.

Miller, designed by Matthew Carter, is a “Scotch Roman,” a class of sturdy, general purpose types of Scottish origin, widely used in the US in the last century, but neglected since & overdue for revival. Miller is faithful to the Scotch style though not to any one historical example — and authentic in having both roman & italic small caps, a feature of the originals.

Here's a clean, simple architectural-blueprint style, eminently suitable for subheads and text blocks. Inspired by and named for a gentlewoman who gave up a career as an architect in Bolivia to care for the elderly in the United States. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Snell Roundhand Script was designed in 1965 by Matthew Carter. Conception and design were both based on the 18th century round hand scripts. The font has an elegant and festive feel and its capitals can also be used as initials mixed with other alphabets. Snell Roundhand Script is well-suited to middle length texts and headlines. Featured in: Best Fonts for Logos

Reborn is a modern and chic font for brand and logo design with ligature that easy to use for beginner and ready to use on any software that support Opentype Feature. This is based on our experience as a font creator, so many users with dummy and never use Opentype feature before. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get chic, unique, and certainly font for graphic design. To make it look more unique, here we prepared some ligatures: KA KC KE KG KO KS KU KY RA RC RE RG RO RS RU RY QA QC QE QG QO QS QU QY LA LC LE LG LO LS LU LY Include Fancy Style in some Uppercase and Lowercase, Just try it!!! Reborn is also included full set of: uppercase and lowercase letters multilingual symbols numerals punctuation ligatures Wish you enjoy our font and if you have a question, don't hesitate to drop message & I'm happy to help :)

Maxfield Parrish (1870-1966), whose career spanned nearly ninety years, holds a unique place in American art and culture. He was enormously accomplished and successful in both fine art and commercial endeavors. Parrish's hand-drawn letters were a significant part of his works, which bridged the familiar with a startling otherworldliness. P22 has created the Parrish font set in cooperation with the National Museum of American Illustration.

Nina™ Family is a new condensed sans serif typeface designed to be as readable as possible at small sizes, whilst squeezing in as many characters per inch as feasibly possible. Nina Family typeface was designed for Microsoft by world renowned type designer Matthew Carter, and hand-instructed by leading hinting expert, Tom Rickner. Character Set: Latin-1, WGL Pan-European (Eastern Europe, Cyrillic, Greek and Turkish).

The three largest sizes of type made by the Caslon foundry are strangely unlike the famously consistent text faces cut by William Caslon. Perhaps they were the work of other hands—or of the master in a funky mood. Caslon’s text types have often been revived, but the display sizes, forceful and a touch eccentric, had no digital version until Matthew Carter’s Big Caslon. With striking Italics and rich design features , this typeface shines at BIG sizes.

Franken Jr. Pro was inspired by the title screen from the 1966 Hanna Barbera cartoon titled, "Frankenstein Jr." The original titling had a unique presence to it, overflowing with charm and offbeat personality. The addition of a Small Caps set, Unlimited Fractionals, Superiors & Inferiors, and Ordinals gave the a bit more serious, but not too serious) titling stance to the Franken Jr. Pro typestyle. Franken Jr. Pro truly embodies the comic lettering of its time, and gives designs a lively retro spark.

The Eixample project is inspired by modernist signage of various examples found in the Eixample neighbourhood in Barcelona. The name of each subfamily is related to its location or to specific elements of the original sign. Villa is the abbreviation for Carrer Villarroel (Villarroel Street), where the Villarroel Pharmacy has been displaying this sign since the first quarter of the twentieth century. The Eixample Villa typeface system consists of sturdy letters free of ornaments with an industrial aspect. Only the treatment of the curves borrows modernist features. Like the rest of the families in the Eixample series, Villa shows its origin as a display font, but it has been engineered to give good results at small sizes as well.

Lettering designer Ray Cruz, creator of Bitstream’s VeraCruz, Fat Albert and Cruz Cantera, and many other typefaces, introduces Homeland BT, a finely drawn family of six weights, including two italics. This text and display typeface has a generous x-height and overall body width for great legibility at small text sizes. The exaggerated serifs impart a sense of stability and comfort, and give headlines a unique styling. Available in PostScript OpenType format, Homeland’s extended glyph set covers the Western and Central European, Baltic and Turkish languages.

MS Reference Sans Serif font is a special font containing the WGL character set and a range of symbols and icons. The WGL Pan-European character set provides support for Western, Central and Eastern European languages including Greek, Cyrillic, Baltic and Turkish. MS Reference Sans Serif is based on the Verdana fonts created by Matthew Carter and hinted by Thomas Rickner. The MS Reference Sans Serif font is distributed under license from Microsoft Corporation.

The initial inspiration for Technical Standard VP came from examining precisely machined labels on tools from cameras to cars, which need to be legible at all sizes. The streamlined look such processes achieve was reinterpreted and refined - the resulting font at the same time being robust and stylish, universal and unique, with its ten distinct styles offering great versatility. With 1120 glyphs in each style, it guarantees full support for all Latin languages.