Palace Script is a formal English script from the 1920s. This typeface, inspired by centuries-old copperplate engravings, could add the perfect touch to any number of holiday cards. You could also make cute little names tags for all of your presents with Palace Script.

Our new stylish and cheeky font is perfect for a variety of youth brands and projects. The letters are intentionally sloppy, but they look great in the context of any size text blocks! We hope our cheeky font will help you develop your cheeky project!

Franz Fiebiger (1880 - 1932) was an Austrian painter and designer who was associated with the Vienna Secession. In 1908 he created a beautiful poster for the Kaiserjubiläums Möbel Ausstellung - a furniture exhibition during the Kaiser's Jubilee. Fiebiger Zwei (meaning Fiebiger Two) is the second font based on one of the hand made typefaces gracing this poster. As I had to work with only a few glyphs, I designed the missing ones myself. Fiebiger Zwei comes with language support befitting a Kaiser...

Palatino Arabic is a collaboration between Lebanese designer Nadine Chahine and Prof. Hermann Zapf. The design is based on the Al-Ahram typeface designed by Zapf in 1956 but reworked and modified to fit the Palatino nova family. The design is Naskh in style but with a strong influence of the Thuluth style as well. This is evident in the swash-like finials and the wide proportions of the letterforms. It is designed for use in print in both large and small sizes. The counters are wide open to allow for better readability in small sizes as well as to maintain an open and friendly appearance. The font has 1091 glyphs and includes a large number of extra ligatures and stylistic alternates as well as the basic Latin part of Palatino nova and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Palatino Arabic wins Type Directors Club award. Each year, the New York-based Type Directors Club judges typeface designs from all over the world in their TDC2 contest. Linotype is pleased to announce that a very new typeface of its own is among 2008’s winners: Palatino Arabic. A collaboration between Nadine Chahine and Prof. Hermann Zapf, this face is an extension of Zapf’s Al-Ahram Arabic type from 1956 recreated to join the Palatino nova family.

Every morning, after the kids have gone to school, I vacuum the floor and remove about half a kilo of breadcrumbs… No, not really have a kilo, but any given bird could probably survive on the leftovers. When it was time to name this font, Breadcrumbs was all I could think of! Breadcrumbs and children seem to go together well, as they are featured in Hansel & Gretel and Hop-o'-My-Thumb. Breadcrumbs font is a happy, sloppy fairytale font, which you can use for your book covers, your party posters and maybe crumbly bread packaging. But that is entirely up to you.

Blushing Spring is a smooth, elegant, and flowing handwritten font. It has a very balanced character and as a result, it fits into a wide set of designs. Blushing's history features varied baselines, smooth lines, beautiful glyphs and stunning alternatives. Add to your most creative ideas and see how they put them into action! Blushing Spring has 358 Alternates, including multiple language support. With OpenType features with alternative styles and elegant binding. The OpenType feature works automatically, but you can access it manually and for the best results necessary for your creativity in combining these variations of the Glyph.

Here's a fun collection of cute, weird, crazy and goofy drawings. They are all drawn within a box, which makes it easy for you to align them in a grid, or perhaps make your own colouring book or picture lottery. The shapes of the drawings are typically simple: triangles, circles, squares etc. I use drawings like these in my work as a kindergarten teacher. These simple, but yet appealing drawings, are a great inspiration for kids (especially the ones who never draws or are insecure on how to draw) to start drawing themselves, or as a kickstarter for their imagination!

Inspired by the Roman lettershapes that Asensio y Mejorada drew in 1780, Frontis is a text typeface that takes this reference just as a starting point. The delicate appearance of Neoclassical fonts becomes confidence in Frontis. The characters have a solid skeleton, and the text looks classy in the condensed half of the family. A style that shines especially at display sizes. A collection of vegetal motifs and some stylistic uppercase ligatures complete the character set. These extra shapes serve to frame and bring together all the weights and styles in the type family. The lapidary ligatures and the ornaments underline the 18th-century roots of the design. There is a connection between Frontis and those classic letters that were once engraved on stone. And yet, the design is daring enough to make it a perfect choice for contemporary use.

Monotype’s hot metal Bell series from 1931 was based on original types made by the punchcutter Richard Austin for the foundry of John Bell in the 1780s. The different sizes of Monotype’s series were not all based on the same model. As type historian James Mosley wrote on Typophile, “For 18 point and above (the metal type was cut in sizes up to 36 point) Monotype’s model was a larger type [than the model used for the text sizes], the ‘Great Primer’ cut by Austin. This has greater contrast in the capitals and a flat foot to letter a.” The digital Bell closely follows the design of the hot metal 18pt version, and is therefore somewhat lighter in color than the text sizes of Monotype’s original metal face. James Mosley’s Typophile article can be found here.

The hand lettered title on the cover for the (ca. 1917) sheet music for “After the War is Over” provided the design inspiration for National Nouveau JNL, which is available in both regular and oblique versions. A precursor to the Art Deco movement which would arrive within the next decade, this bold thick-and-thin design embraces the elements of both Art Nouveau and Art Deco in one type design and gets its name from the patriotic spirit of America during “The Great War”.

Casagrande Collection has been designed in 2020 by the Italiantype Team (Manuel Alvaro, Valentino Coppi and Mario De Libero), working in close collaboration with Italian lettering artist, illustrator and calligrapher Alberto Casagrande, with help from the Zetafonts Team (Francesco Canovaro, Andrea Tartarelli and Cosimo Lorenzo Pancini). The goal of the project was to use as inspiration Alberto's colorful, vintage themed digital illustration style to develop a suite of closely related typefaces that, used together, would allow designers to replicate the nostalgic charme of Italian poster and product design from the thirties and the forties. Two color overprints, coarse dithering, handmade calligraphy, reminiscences of art deco, hints of modernism and pop culture references: all this and more mixed in a exuberant and playful collection, created with illustrators, poster artists and book cover designers in mind. The final product is 24-font package with six display families with styles varying from the thirties-inspired Antifascista (3 weights + 3 dithering weights) and Deco (3 weights + 3 inline weights), to the modernist Casabau (5 weights), to the geometric Grind (4 widths), to the vintage elegance of the two script families, Reclame and Casatiello. The collection is complemented by a two-color icon set font, Casagrande Ornaments, allowing any designer to easily explore the creative possibilities of this incredibly powerful creative collection. Please Note: Casagrande Antifascista Ombra simulates fine dithering and may be processor intensive for some older computers. Use Casagrande Antifascista if it slows down your system.

ITC Noovo is from British designer Phill Grimshaw and grew out of his work on ITC Rennie Mackintosh. He says, I still had 'Nouveau' coming out of my ears" and he drew it after a series of computer-intensive projects, "when I was missing the smell of permanent marker pens and the feel of paper." ITC Noovo is highly stylized yet works as both a text and display typeface."

There are a lot of script fonts out there - but Goldney isn't your average one, it's designed to be your go-to modern handwriting font. Goldney produces incredibly realistic letterforms and free-flowing sentences - this was achieved by writing out hundreds of individual words, then hand-picking the most natural looking letters. Also hand-picked was a whopping 90 Ligatures - these unique letter combinations give even more authenticity to each word layout. It's the perfect choice for genuine handwritten logos & branding, advertisement text, quotes, headers and product packaging. Goldney consists of 4 fonts files; Goldney • A handwritten script font containing upper & lowercase characters, numerals, and a large range of punctuation. Goldney Alt • This is a second version of Goldney, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Slanted Versions • Are included for both regular and alternate fonts. These can be used for a more italicised, fast-hand flow to your text.

Cotton Club remembers the fonts of the thirties of the last century and the Bodoni, but it does not present graces: it is a sans serif. It has 360 glyphs and is composed of two regular and italic styles. Cotton Club is characterized by a high contrast between thick and thin strokes. The emphasized signs give the font an essential, sharp and elegant look. The Italic style of the Cotton Club refers to handwriting and this is noticeable in the ligatures obtained with kerning. The name of the font, “Cotton Club,” refers to the famous Jazz Club in New York, in Harlem, active in the twenties and thirties, during and after Prohibition. At that time the Bodoni, in its many derivations, was widely used not only in lead composition, but also in neon signs, plaques, posters, as well as in many other applications. Redesigning a new font that brings back to those years wants to be, therefore, a tribute and a reinterpretation of the graphics of that period as well as, it is understood, to the glorious Bodoni. Supported Languages Bulgaro, Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Dutch, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Serbian, Swedish, Turkish. Vincenzo Crisafulli font designer Vincenzo Crisafulli graduated from the Faculty of Architecture in Palermo and works as a graphic designer. He has been designing fonts since 1996 and has published with T26 (Type-Foundry, digital foundry in Chicago-California USA): Crisafulli, Chocolat, LST, Luminaria, and Stitching; with MyFonts: Rétrospectif, Bella Copy, Jasmin and Noahs Ark.

Winslow Title is a high contrast modern type family comes in two styles and a monolinear script family. The traditional proportions of Winslow Title are historical in nature and follow the design and style of Winslow Book as a high contrast variant. The Winslow Title Mod family is a contemporary take on the style, with tapering terminals and less pronounced finials. Each family includes both styles, to be accessed through the opentype panel as a stylistic alternate. If preferable, you can purchase the entire family collection to have easier access to both styles, but it's not necessary. The typeface family comprises of roman and italic styles in six weights from Thin to Black and two widths in the roman style: Regular and Narrow. The accompanying script family has a single weight but offers five tracking widths, from Narrow to Wide. The bundle is an elegant combination of styles perfect for titling and display design. The serif typeface is packed with features that make ideal titling styles. Not only do they include the Stylistic Alternates, but also Titling Alternates, Discretionary Ligatures, Small Capitals, Swashes and Contextual Ligatures. As noted previously, the typeface comes in two styles, Traditional and Modern. Each can be accessed either by the Stylistic Alternates or Stylistic Sets. Titling Alternates are alternates that expand the ball terminals to K, R, V, W, and Y (see Titling Alternates slide). Contextual Ligatures are for capital combinations with A that tighten the gap created by the extended serifs. It connects characters with a pairing serif (the lower right serif of the M with the lower right serif of the A) and bridges them together. This combination works for single and multiple A combinations. It is turned on automatically in the Opentype panel and shouldn’t need to be accessed individually. Alternatively, the Discretionary Ligatures feature combines diagonal or baseline stems with lifted small capitals, creating a unique combination of characters. Swashes is an extensive feature that offers up to five swash options per many of each character. These can be selected via the Glyphs panel or as character alternates in Adobe programs. The Script family has a feature set of it’s own, with initial and final swashes on lowercase letters, middle swashes for select characters, and a titling feature that joins words together by replacing the space with a line. Stylistic alternates create a bouncing baseline on connecting strokes. *Note: there is no great need to purchase both families as all styles can be accessed via Opentype features, but if customers prefer to purchase both styles, it can be done by selecting the Complete Typeface Family collection.

Kardinal is a sans serif humanistic type family. The family has 16 weights, ranging from Thin to Black with extra drawn italics and small caps versions. The Kardinal type family is ideally suites for small text, books and magazines, branding, posters, as well as web and screen design, headlines and more. Kardinal comes in 16 styles with extended language support. All weights contain standard ligatures, proportional figures, tabular figures, old style figure, numerals and arrows, matching currency symbols and fraction. The construction of characters combines clean grotesque style and calligraphic features with humanist fragrance. Out standing for the designs are the small serifs. They are giving the letters movement and freshness, as well as contribute to a better readability in different volume texts and including lots of details that give it a unique personality. The Regular and Medium weights are perfect for body text while the italic give an interesting texture to the text. The range of styles give a good flexibility to this family. The fonts are carefully hinted and perfect for digital use.

Frederic Goudy designed Tory in the spirit of the ‘lettres batarde’ found Geoffry Tory’s Champ Fleury. He was looking to create a romantic type for which to typeset the book Auccasin et Nicolette. It was one of Goudy’s favorite typefaces of his own creation and it is digitized by Steve Matteson to preserve that legacy.

In January of 2006, Jeff Levine fonts debuted with ten releases. Many of those first fonts were based on vintage lettering stencils, which were the "school years" catalyst for Jeff's interest in lettering and type design. Eight years later, his collection of fonts has become a giant catalog of display type ranging from Wood Type revivals to Art Nouveau, Art Deco to stencil, reinterpretations of old favorites, experimental fonts, dingbat fonts and typefaces reflecting a particular decade's styles of cultural popularity. Designs from old lettering books, type catalogs and advertising have also been fodder for many alphabets not previously available in a digital format. Along the way, many unusual lettering sources were also mined for type ideas. Vintage packaging, hand-lettered signage, sign making kits, rubber stamp type, water applied decals and at times just a singular letter example inspired many of the releases within this collection. It was a source of pride for Jeff Levine Fonts to reach 500 releases and a determined goal to grow the type library as far as possible. With this in mind, February 2014 brings forth many new releases. This one in particular, Ornery Polecat JNL, is the 800th typeface release from Jeff.

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.

Here is my next Celtic Monograms font family. I used a lot of authentic knots and curves to imitate Insular art style. The term derives from insula, the Latin term for “island” in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. I've drawn sketches set, manually vectorized it and assemble the font family. In an attempt to replicate the intricate patterns found in Celtic art, I endeavored to create a design that embodied the essence of true Celtic knot work. The interweaving lines, which were prominent motifs in Celtic art prior to the arrival of Christian influence around 450, served as the foundation for my creation. Over time, these designs seamlessly integrated into early Christian manuscripts and artwork, incorporating depictions of various elements from everyday life, including animals, plants, and even human figures. In the beginning, the patterns were intricate interwoven cords, called plaits. This particular style is often linked to the Celtic regions, but it was also widely embraced in England and spread throughout Europe through the efforts of Irish and Northumbrian monks. The utilization of the Celtic knot as a tattoo design gained popularity during the 1970s and 1980s in the United States. Consequently, it has proven to be a highly advantageous font choice for various applications such as posters, banners, and sportswear. You can also create a vintage color shift effect. Please note, you should use graphic applications such as Adobe Illustrator or Photoshop, but not Microsoft Word. All you need is put Two or Three lines style initial on the top of Back style. I’m happy to present you the Rough, Two lines, Three lines, and Back styles for your design. You’ll get uppercase and numbers set. Thank you!

Introducing the New Icon Font Duo. This luxury script and timeless serif are perfectly designed for one another-not only are they strong standalone fonts, but will pair beautifully when placed side by side. Feeling creative? They can even be mixed together within the same word for a more eye-catching layout, giving you a versatile set of fonts which can be used & loved across a range of design projects. Included in this family; New Icon Serif • A classic, all caps serif font with nostalgic notes. Contains alternate large-width O,G,Q,C characters in the ‘uppercase’ set. New Icon Serif Condensed • A thinner version of the New Icon Serif. New Icon Script • A luxury, cursive script font containing upper & lowercase characters. A beautiful letter set inspired by traditional calligraphy, which can be used on it’s own or paired effortlessly with the serif font. Contains alternate lowercase y & g with elongated tails, accessible by turning on ‘Stylistic Alternates’ or via a Glyphs panel. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Introducing our new exploration of a brush font, Hughoney . This freestyle script font is created by creative randomization the letter shapes. Gives minimalist, sweet, elegant and solid looks to your creative projects. This font has a lot of feature that you can apply as you need. The features in this font have a consistent adjustment with the basic letters. This sweet brush font is suitable for your poster, quotes, t-shirt design, menu, product design, invitation, etc. Very recommended for Headline or your display. We hope you are interested.

Adinah is a lively brush script with a strong sense of rhythm. Adinah’s expressive letterforms are based on pointed brush calligraphy with a hint of sign painting. This Sign painting influence reveals itself the further you dig into the family styles. Eight combined styles are complimented by a sub family of Six Layered Font options.

Eckhardt Freehand JNL is the fourth font based on the lettering of sign painters and show card writers. Jeff Levine has chosen to name this “mini series” of fonts in honor of his friend Albert Eckhardt, Jr., a talented sign man who ran Allied Signs [in Miami, Florida] from 1959 until his passing in 2005.

Kids at Play is a playful and curious font with children silhouettes in the form of letters. The letters/children are engaged in a variety of poses and activites. If you want to develop a text, story, or publication for or about children, this is a must-have font. Includes full set of accented characters.

A versatile stencil type family with lowercase characters and a extensive character set. Bunker has four styles, and all of them are interchangeable, which means that a character occupies the same space (advance-width) in all of the fonts. It also has four styles of figures: tabular-lining, tabular-oldstyle, proportional-lining and proportional-oldstyle.

RM Sans has been designed to offer an useful but inexpensive family of 5 regular weights; 3 condensed weights; 5 outline weights and an 'eco' alternative. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

Introducing "Moxy Rush" Font: Redefining Modern Blackletter Elegance Unleash the power of typography with "Moxy Rush," a remarkable font that seamlessly blends the timeless essence of blackletter style with a captivating contemporary twist. This font is a true masterpiece, meticulously designed to elevate your designs, projects, and artworks to new heights of sophistication and creativity.

Working on a Star Wars project? This font is in Aurebesh, the main written language of the Star Wars universe. In this case I designed a font that looks like it has been scratched into a wall. All the additional letters from the Aurebesh character set are includes, as well as numbers and symbols.

A travel poster from the 1940s for Mexican tourism provided the inspiration for this voluptuous font with a strong architectural feel. A few unexpected idiosynracies in the letterforms add to its charm. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Lil’Baby Script Font is a romantic, modern calligraphy typeface, which supports Extended Latin and Greek characters. This font does not only contain a complete set of lower and uppercase letters, punctuation, numbers, but also a set of ligatures. Equally important is the fact that the font has diacritics for multilingual support. Of course, with this typeface, you have access to a complete Greek set of characters, with diacritics and Greek ligatures. Lil’Baby Script is a high-quality calligraphy font that can infuse any project with romantic vibes. Lil’ Baby Script is the perfect wedding font if you want to achieve a dreamy style on your wedding invitation. For a soft, elegant style, you can pair the font with a pastel color palette and creamy papers. Of course, this modern script font is perfect for your graphic design needs like social media quotes, blog headers, posters, stationery, and why not branding, packaging, and logotypes. In addition, this calligraphy font is ideal for the fashion and apparel industry, if you want to achieve a classic chic, yet modern style.

I was in a bit of a gloomy mood just before I created this font. I had no inspiration whatsoever (which always affects me in a bad way). I was trying to create a font using broken satay skewers, as using those gives the letters a unique look. I broke about 25 skewers and they all broke ‘the wrong way’. Yes, it’s pathetic, I know, but that’s how it is. I decided to go to the gym and do a little workout, hoping my dark mood would pass. When I came back, I broke one more skewer and lo and behold, it broke exactly the right way! I made this font in one go, using that fantastic skewer and lots of Chinese ink. Darkness Rising comes with all the diacritics you’ll need, plus double letter ligatures and some cool underlined alternates.

Gardens is a nostalgic arena font. Inspired by a soon-to-be demolished arena, this font was created to capture the memories and good times this building once contained. Upon hearing the news of the demolition, our team was struck with sadness and nostalgia. As youngsters we can recall attending a wide variety of events, such as hockey games, pro wresting and the circus. Our hope is that others can share in our nostalgic love of this once prominent arena. With curvy retro styling Gardens is unique and will fit in with many retro and vintage logos and design. Wether its t-shirts, posters or digital, Gardens will surely make your work stand out!

In the last years our society has change a lot. Nowadays cities and countries are no longer static territories with well-drawn borders and a population perfectly defined. Globalization is a fact and the best consequence of it is the mixture of races, ideas and cultures, and this is exactly what this typography aims to show. Albollón is at once a semi-serif and a semi-sans serif typeface; it is a mixture made with the best parts from both sides. This way is how I understand a healthy society and a healthy design too. Albollón is designed to work in all types of text, both long and shorts, big and small ones.

Franz Fiebiger (1880 - 1932) was an Austrian painter and designer who was associated with the Vienna Secession. In 1908 he created a beautiful poster for the Kaiserjubiläums Möbel Ausstellung - a furniture exhibition during the Kaiser's Jubilee. Fiebiger Eins (meaning Fiebiger One) is based on one of the hand made typefaces gracing this poster. As I had to work with only a few glyphs, I designed the missing ones myself. Fiebiger Eins comes with language support befitting a Kaiser...

English Signature is a beautiful signature font. It has a fresh, modern and natural handwriting style that will add a distinctive touch to your perfect design. This font is very suitable for branding, because we complete it with a number of alternatives that allow you to make it a feminine and masculine logo, and a few signs to add to the tightness of the signature, for the binding to present the impression of natural handwriting. thanks.

Cucaracha is a freaky, crazy, flowery-kinda looking family of two fonts: Cucaracha Font & Cucaracha Wixa. Cucaracha Font is like a plant starting to bloom in spring. It comes with an assortment of 8 additional icons all available through the standard keys. They are easily positioned so you can combine the icons and make an endless variety of patterns, structures and frames. Cucaracha is custom made for the Volcano ‚Bastard Project’ and was published in the project book.

Getman is a light Gothic typeface. It made all the rules and traditions of classic Gothic typeface, but it has lightweight shapes, making it easy to read and understood. Getman is based on the works of type masters 1910s. This font has all 104 European alphabets, all Slavic alphabets, OpenType features (ligatures, oldstyle numerals, fistorical forms, localized forms, fractions, ordinals and others). Getman has an historic beauty of the medieval Germanic national script. Glory to the Germans!

Louis is a faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927. Redrawn digitally by Rod MacDonald, and engineered in-house by Canada Type, Louis includes the many alternates that came with the original design, and then some. It was also expanded into three variations, including a soft-cornered style, and a rough woodcut one. And of course, the codepage support covers the majority of Latin-based languages.