Ribfest is a new font based on lettering found on old United States currency from the 1800’s. Named after the Ribfest held in Naperville IL over 4th of July weekend each year, this font will be perfect for your next summer barbecue party. Ribfest offers three Fill fonts that can be layered behind the main open faced fonts, the regular Fill font covers the complete opening on the main fonts while the Fill T for top and Fill B for bottom gives you the option to fill with two different colors for top and bottom. The Fill fonts for Ribfest may also be used as stand alone fonts, the Fill T and Fill B fonts when layered together creates a unique look on its own. Expand your summertime fun with Ribfest and save me some of those rib’s, with extra barbecue sauce please. Special Note: When using the Opentype format of Ribfest, if you experience some letters appearing too bold at point sizes of 36 or above please install the truetype version that came with your purchase. Due to the extra detail in this font some graphics drivers may increase the boldness of the Opentype version of this font, the solution is to uninstall the Opentype and install the Truetype version.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. Garamond Pemiere Pro was designed by Robert Slimbach, and released in 2005."

Lasvorga is a modern style vintage font and there are 108 standard and discretionary ligatures. Additional OpenType features include character variants, style sets, and multilingual support (including multiple currency symbols). I made this font from the inspiration of old vintage fonts, of course it is very sturdy and makes your design more luxurious. This font is also very good for logo types, magazine headlines, and others. If you need my help please contact me, thank you

Dahliana is a humanist serif type family that has the heritage of classic Old Style and Transitional type while having the crisp lines and functionality of contemporary fonts. Its defining features include a high-contrast combined with diagonal stress, along with pinched stems and horizontals. There are 18 fonts altogether over 9 weights in roman and italic, you can also avail of one variable fonts which allow you to fine tune the weight to your exact liking.

Steve Jackaman and Ashley Muir. It was our initial intention to develop a suitable lowercase for Les Usherwood's 'Elston' typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin). However, the new design quickly took on a life of its own, and we decided to call it ‘Creighton’. Originally released as a four font family, we have now added eight more weights and made the entire family into 'Pro' versions for good measure.

Rhaetic or Raetic (/ˈriːtɪk/), also known as Rhaetian, was a Tyrsenian language spoken in the ancient region of Rhaetia in the eastern Alps in pre-Roman and Roman times. It is documented by around 280 texts dated from the 5th up until the 1st century BC, which were found through northern Italy, southern Germany, eastern Switzerland, Slovenia and western Austria, in two variants of the Old Italic scripts. Rhaetic is largely accepted as being closely related to Etruscan.

Typefaces with very thin verticals and fat, square serifs were popular in the 19th century for display. Hollywood helped associate this style with the Old West, but reference books identify some of it as Italian style. WyomingSpaghetti, part of an extended family of typefaces, has a name which combines these two associations. Most typefaces of this type are very condensed, but this one is not. The letter o is nearly circular, which is rather unusual in this style.

High contrast, sharp endings and geometrical shapes – these are the main features of Artigua. The relation of vertical and horizontal lines reduces with weight – this makes regular weight appropriate for longer texts and black ideal weight for headings. Whole family contains small caps, subscript, superscript, italics, fractions old style and tabular figures. Over 1100 glyphs and 18 fonts makes a perfect match for clean and minimal projects. With Artigua it’s super easy to prepare adverts, books or web headings.

All the nine weights of Bogart, as well the matching true italics forms, feature an extended charset of over 1600 glyphs, covering 219 languages using latin, cyrillic and greek alphabets, and sporting a complete set of Open type features. To add flexibility for editorial usage, a text-oriented Bogart Alternate set of nine weights was added to the family keeping the design more similar to its modern old style model and allowing for a heavy readable mid-weight range.

What is an inverted squircle? To answer that we must first identify a squircle, which is a square with rounded edges. An inverted squircle isn't just a regular old square. It is a square with inverted rounded edges. This font is a modular font designed to create inverted rounded square edges. This font was created with using just a few shapes stacked and rotated to make a unique, digital font with a little bit of quirky personality.

With it's distressed markings and rough edges, Docket mimics the appearance of a vintage typewriter from the 1940s. With Docket, you can quickly create graphics with an instant classic feel, and it's application is quite versatile. Create logos, stamps, sublimation designs, social media quotes, monogram products, and even websites with this bohemian typewriter font! Docket's characters are proudly hand-crafted, meticulously kerned, and come in two variations to capture the unique look of an old grunge typewriter.

Hi! It's Orenari here want to introduce a romantic display serif font, New Romantine. This font has lovely curves and almost of all the uppercase and lowercase has stylishtic alternates. The fact of this font is Romantine was my very first font. This New Romantine is the newer version of Romantine. It's bolder than the old version. Just launch the New Romantine in February so this font will bring the Valentine's Vibe to your creative projects.

A Western Union telegram from 1951 provided the typographic inspiration for Message by Wire JNL, which is available in both regular and oblique versions. Unlike other available type fonts which emulate the ink ribbon-struck printed characters from the teletype machines, this version was redrawn to celebrate the actual type design itself. The typeface letter spacing has been equalized so that when in use, it looks much like the printed output of an old telegram messsage.

Pescadero Pro is named for the valley in California's rugged central coast. Early Spanish settlers called the area Pescadero (fishing place) as they observed it was a favorite fishing spot for the local natives. Designed by Steve Matteson, Pescadero is delicate and detailed for attractive documents but robust enough for serious reports and titles. The design is based heavily on calligraphic inscriptional lettering. Pescadero Pro's OpenType features include proportional figures, tabular figures, old style figures and initial swash caps.

Ecriture Hand drawn Font was born from original and hand-drawn style font. This font gives a feel of classic, old, handmade look. Already PUA Encoded, and I think this font is perfect for people looking for an aesthetic or hand-drawn logo. Suitable for graphic designs such as branding materials, t-shirt, print, business cards, logos, posters, t-shirt, photography, quotes and more. What Advantages? Simple installation Multilingual Support with Accents PUA Encode Support for MAC and PC

Snow Job JNL was inspired by the hand lettered titles for the 1964 Rankin-Bass animated holiday classic "Rudolph the Red Nosed Reindeer". Because of the variable heights of the characters they float about the baseline in a free-form design. Available in both regular and oblique versions, the typeface gets its name from both the winter theme of the TV special along with the old term for deceiving someone with compliments while hiding one's true intent.

Now that we're done with the hipster stuff, the handwritten and the brush fonts, it is time for something new: Organa, a stylish geometric font family. Create a new feel for your designs. Organa is a unique and creative font that can be used for logo design and branding, posters flyers and book covers. Organa will help you to shake off the old feel and to create something new. It comes in three styles that are easy to combine.

Brer Rabbit (or Brother Rabbit) is the central figure in an oral tradition passed down by African-Americans. Brer Rabbit is a trickster, just like the other popular trickster character in African stories called Anansi the spider. Brer Rabbit was based on an old font of mine called Rabbit On The Moon. It is a nice, cute children’s book font that comes with extensive language support and Brer Rabbit himself, in the shape of the alternative asterisk glyph.

Selene Book is a sans-serif font family designed by Leonardo Di Lena and derived from Selene. The font is based on geometric forms with as few improving legibility optical corrections as possible. If you need a minimalist font, technical but friendly and elegant, this is your choice. There are glyphs for all languages ​​with Latin, Greek and Cyrillic alphabets, all the basic ligatures, old style numerals and five Latin capitals alternates that catches the 1900-1950 font styles.

A lament is a sad song, and the music of the cowboys of the Old West had their fair share of them. However, a vintage piece of sheet music from the early part of the 20th century with the title "The Dying Cowboy" brought at least one positive trait to its mournful song. The title lettering was drawn in a fashion that emulated lettering made with quick strokes of a paintbrush, and became the inspiration for Cowboy Lament JNL.

Cary Grant was one of Hollywood’s most versatile actors, playing romantic leads, dramatic parts and showing off his impeccable timing in screwball comedies. A perfect example of this is Frank Capra’s “Arsenic and Old Lace” from 1942. The movie trailer for the film had the title hand lettered in a playful and casual slab serif style, with varying character shapes and weights. This is now available as Screwball Comedy JNL in both regular and oblique versions.

Kroist was born from the rebellious mindset to break the rules of perfection of typographic hierarchy. Pushing to the very edge of possibilities to craft something different yet remarkable in the industry. Combining the reference of classic band posters, old records, and a spirit to be loud in sending the message. Kroist will be your perfect choice for your logo, branding, music project, cover artwork, merchandise, apparel, clothing, fashion, movie title, serial project, and many more.

Bronzier is a strong serif display family with 8 different styles. Bronzier was designed with a strong and sharp serif which gives it a more manly look. Sporty, vintage and modern taste at the same time which mean you can use this font family for many design styles. Inspired by old-school typography and modern style. Create a perfect design with Bronzier! Because Bronzier is suitable for logos, logotypes, apparel, jersey, tags, labels, posters, stickers, branding and more.

Chilada is an outrageous display family by designer Patricia Lillie for Image Club. Across four versions, the decorate treatment inside Chilada's letters becomes more intense. Chilada characters exude an energy of their own. Their design could be described as a cross between Bank Gothic and Neuland, with a spoonful of funk mixed in. Big and chunky, Chilada's forms are made up of straight lines only. There are no curved elements. The resulting design is angular and cuts a good figure on the page. Of the Chilada family's four members, the basic font is named Chilada Uno. Uno is Spanish for one!" The forms of Chilada Uno's letter are solid black-or whatever color you choose to set them in! Chilada Dos, Tres, and Quatro each offer their own decorative treatments: Chilada Dos's letters sport a zigzag inline, Chilada Tres is decorated or an ornamented leaving leaves more black from the letters than white, while Chilada Quatro's level of decoration is just crazy. Its letters are made up more more from white space than from black marks. Chilada Quatro is almost an outline font!"

Eggad features letters on eggs. It can be a fun font to use at Easter or for any egg-related message. Some of the eggs - those on the upper-case keys - have their large end on the bottom and others - those on the lower-case keys - have their large end on the top. The font uses the contextual alternatives feature of OpenType to alternate the big-bottom and big-top eggs. If you only want eggs with big tops or with big bottoms, turn this feature off. Eggad comes in two styles, a regular style in which the eggs are outlined and a bold style in which the eggs are solid. Both are monospaced. The two styles can be layered to color the eggs. Alternatively, background color can be added (dot accent and ring characters) or the outline color can be changed (sterling and yen characters) using layers in the regular style. If you are typing numbers and you want the start to be big-bottom number, switch on OpenType style set 1.

In the world of webfonts, Condensed proportions are key to maximizing your page's premium real estate while keeping your copy clean and catchy as you cut down to the essentials. Soon after the introduction of webfonts, I began to see Insigne's Le Havre used frequently for web headlines, not so much for its Art Deco look as for its more compact proportions. There seemed to be a need for a font that was designed to be used solely for the web's unique constraints. Enter Coegit Sans. Coegit is built specifically for web applications. Its highly Condensed forms range from thin--offering the greatest number of uses--to the attractive, accenting black. With three widths--Compressed, Compact, and the widest, Condensed --the family holds a total of sixteen fonts. The typefamily has also been hinted for excellent, onscreen display quality, even at small sizes. Overall, its lighter, humanist features provide the reader a more congenial welcome than its square, sans-serif counterparts can offer. Coegit is equipped for complex professional typography with stems, small caps and plenty of alts, including titling capitals. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. The family also includes glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Coegit supports over 40 languages that use the Latin script, making the new addition a great choice for multi-lingual publications and packaging. While the advanced OpenType features of webfonts are not currently supported in many browsers, the near future promises wide support. As acceptance of these features grow, Coegit Sans will prove to be a versatile element for your wide range of web projects.

Iwan Stencil is a new revival of an old display typeface. Based on type originally designed by Jan Tschichold in 1929, the style was revived by Klaus Sutter in 2008. The letterforms in this peculiar design are very high contrast; all of the thin bits are much thinner than the thick parts. They have a modern, upright axis. All in all, the creation has a bit of a Bodoni-gone-crazy touch. The thin elements are the unique part of the design that binds this face together. They almost naturally fade away in the stencil gaps (or pylons), making you wonder if you are really looking at a stencil face at all. These thins contribute greatly to the typeface's overall serif-style, making the design at least a semi serif typeface, if not a full serif one. The lowercase n, for instance, has no serifs of its own, but many of the other letters have clear ones, or serif-like terminals. A serif stencil face is a peculiar variety, especially in this day and age, but in the past they were much more common, if not the norm, The Iwan Stencil typeface has only one weight. Naturally, this is just for display. Use Iwan Stencil to cut real stencils, or only to create the effect of stenciled type in your design work. Ivan Stencil includes all of the characters that you have come to expect in a font. Just because this design was originally made in 1929 does not mean that is has a 1929 character set. Instead, it includes a 21st century, with extended European language support Jan Tschichold, who we have to thank for today's Iwan Stencil inspiration, was a man of many faces. A trained calligrapher who went on to codify the New Typography, would go on to become a teacher, a classical book designer, and the creator of the Sabon typeface. Like all young designers, he was occasionally in need of money. Before his emigration from Germany in 1933, he took on many kinds of commissions. In the late 1920s, a time full of waves of economic turmoil within Germany and across the world, he began designing a typefaces for different European companies, mostly display things like this. For a time during the mid-1920s, Jan Tschichold went by the name Iwan" "

Planeta Font, this font was created to look as close to a natural handwritten script as possible by including some alternates lowercase, ligature and underlines. Built in Opentype features, this script comes to life as if you were writing it yourself. Comes with regular and italic. Also support multilingual.Perfect for any awesome projects that need hand writing taste. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it. Thanks for checking out this font. I hope you enjoy it! AminMario

Millestone Font This font was created to look as close to a natural handwritten script as possible by including some alternates lowercase, ligature and underlines. Built in Opentype features, this script comes to life as if you were writing it yourself. Comes with regular and italic. Also support multilingual.Perfect for any awesome projects that need hand writing taste. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it. Thanks for checking out this font. I hope you enjoy it! AminMario

Abigale was built with OpenType features and includes beginning and ending swashes, heart / love swashes, numbers, punctuation, alternates, ligatures and it also supports other languages :) Say hello to Abigale - A font that you were meant to find, and is now destined to be with you :) Abigale is a lovingly handwritten script , with an air of grace and flamboyancy. Abigale is special in that one word can be written in a many different ways - thanks to the large selection of extra letters that it has built in. To access all the extra characters , Opentype capable software is recommended - most apps support Opentype features now days. The alternates are accessible by turning on 'Stylistic Alternates' and 'Ligatures' buttons on in Photoshop's Character panel, or via any software with a glyphs panel, e.g. Adobe Illustrator, Photoshop CC, Inkscape.

Kairengu is a casual and lively rounded sans serif. The characters are "gloopy" as if ink was poured onto page surface. Kairengu is a great choice whenever you need an amusing face with a lot of character.

Scenders was inked first then digitized for the masses to use. Strong ascenders and descenders embellish the font, so the lowercase characters are quite compelling. Scenders is versatile, but it works very well in all caps headlines.

Inspired by the old fashioned Miller Beer logo.

Ace Attitude is a friendly, readable font with character and flair. When I started designing this font I wanted something that was readable as well as interesting and appealing. Something that showed character. When I look at this font now I think of an old fashioned aviator. One of those poeple that likes to show off and have fun but can still follow rules. This font is perfect for logo's and branding. But its also very versatile would be great in things like magazines, posters, packaging, billboards, etc. Ace Attitude has an impressive 179 Contextual alternates. These are like ligatures, but oh so much better. These contextual alternates will give any project that personal touch - all without any extra effort. All you have to do is make sure that they are turned on in your program. Unfortunately, these do not yet show up in the sample text. To help with this I have created a demo version of the font so that you can still try it out before you spend the money. Ace Attitude also has Over 800 glyphs and includes features such as small caps, ordinals, ligatures, fractions, tabular numbers, proportional numbers, subscript, superscript, numerators and denominators.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

The idea behind Strikt Sans was to made a grotesque family with exaggerated curves combined with low contrasted aspect. Letters such as G, S or C are completely closed in any styles. The italic has a very accentuated angle at 30°, which gives a stressed and interesting appearance. This family contains many OpenType features, such as Alternates, Proportional Figure, Tabular Figures, Old Styles Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals and Fractions, which make that typeface useful in various projects. Strikt Sans family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Sqwared is a square sans serif type family... with flares! This typeface has a retro, hand-painted quality – the slight flaring of its verticals evoke the steady brush of a signwriter. Sqwared benefits from large, open counters and a generous x-height that aids clarity and legibility, while a wide footprint gives these fonts a degree of stature and an air of confidence. Each character was drawn while immersed in a late sixties/early seventies vibe, but there’s no reason why Sqwared can’t be used for your contemporary designs. There are 16 fonts altogether, ranging from Thin to Ultra weights in both roman and italic. It has a Latin character set that covers all Latin European languages. Sqwared will dazzle in headlines, add flair and distinction to your logo designs, bring flamboyance to your branding material, and your body text will most definitely be unique! Variable fonts are included in this family, so you can tune the weight of each font to your exact preference. Key features: 8 weights in Roman and Italic Old Style Figures included Full European character set (Latin only) 440 glyphs per font.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.