Caflisch Script was designed by Robert Slimbach in 1993. The design is based on the handwriting of Max Caflisch, one of the foremost graphic designers of this century. Caflisch, a teacher of graphic arts for over three decades in Zurich, is author of several books on typography and designer of the 1952 Columna typeface. Caflisch�s handwriting has a free flowing yet disciplined character, the result of years of practice and devotion to the calligraphic arts. Slimbach retained the subtleties and natural letter joins of Caflisch�s original handwriting while adapting it into a typographically sound and highly practical script typeface. Caflisch Script is a multiple master typeface with a weight axis that allows the typeface to transition smoothly from light to heavy weights, maintaining legibility and visual appeal at a full range of point sizes. Caflisch Script can be used anywhere the appearance of a fine hand is desired, as well as more sophisticated and practical situations such as display work in books and copysetting for advertisements.

“The Mumbai Sticker” is a layered script font. I have created this font from the sticker I designed for my Mumbai trip for my friend’s wedding, you can watch a short video of the process and the story behind. https://youtu.be/bO8e9lQ0DNU instructions to use: • for smooth connections of v s, v r, v z, w s, w r, and w z please enable “standard ligatures” in open type features panel • Type a text with the “Regular” version, then copy and paste in back (cmd B) and switch to “Outline” version. Please make sure you give it a different color to make the main font visible. Looks best in Black and white as you can see in the poster image but feel free to play around! (Please refer to the PDF included within the downloadable .zip file. • • • For full version and commercial license please visit https://rolandhuse.com or contact@rolandhuse.com The full / commercial version contains Western and Eastern European accented characters and special characters, punctuation and ligatures. @rolandhusedesign Follow me on Instagram

Glyphic Neue was inspired by the Op Art style of lettering in the United States that ran rampant in many photo type houses in the 1960's and 1970's. The Glyphic Series from the Franklin Photolettering group was an influence and spring board for this family of fonts, hence it's name. But Glyphic Neue departs from its unicase Franklin influence in several ways. Firstly the designer created both upper and lower case forms. The lowercase has been designed with barley protruding ascenders and descenders and with an x-height equivalent to the cap height, so that upper and lower can be exchanged indiscriminately for a quirky effect. Some of the letters take a cue from the original Glyphic series but many have been redesigned entirely to fit the designers vision. The italic forms differ enough from the upright version making it almost an entirely different display alphabet. Glyphic Neue is a versatile family of 6 fonts -- 3 widths, each with an accompanying italic that look equally at home when used on a party flier or a sports team visual identity.

The typeface Belwe, created in 1926 by German typographer and teacher Georg Belwe, has an uncommon style that is difficult to describe. It is a synthesis of many different genres: it is a slab serif with Art Nouveau style but also with many blackletter influences. The angled serifs on the ascenders and the calligraphic flourishes on the the upper and lowercase V, W, and Ys reference marks made by pens. There are also many other special characters that are unlike any other designs. Have a look at the fun lowercase a, the quirky lowercase f and g, and the unique C, F, L, and R for the uppercase. This design works especially well for display sizes, but is also good for short amounts of text. The mood and image suggested by this typeface is great for menus, invitations, and signs when you want to send a personal and friendly message. It's Art Nouveau roots also give it a place in history for designs from the Victorian period up through the 1920's and 30's

Gorgonzola Gothic is a geometrically-inspired gothic sans serif family that's robust and versatile. Inspired by the geometric quirkiness of IxD (also by The Ampersand Forest), Gorgonzola Gothic expands into a thirty-style family that works for everything from branding to text. It further mitigates IxD's quirkiness by offering two options in the round and shouldered lowercase glyphs. The standard letterforms, like IxD, have notched joins, giving them an assertive, almost futuristic look. The alternates of those letterforms (housed in Stylistic Set 01, and available as immediate hoverable glyph options in the Adobe Suite) are more conventional (as are the SS01 ampersand, Q, S, a, and s). In this way, Gorgonzola Gothic offers the best of both worlds: a flavorful, slightly futuristic family (in the same world as geometric classics like Eurostile) and a workhorse gothic sans (like the Benton classics Franklin Gothic, News Gothic, etc.). Its three widths: Skinny, Slim, and Standard, give it a wide range of applications, from display to body. Gorgonzola Gothic makes a statement with strength and sureness.

The typeface Belwe, created in 1926 by German typographer and teacher Georg Belwe, has an uncommon style that is difficult to describe. It is a synthesis of many different genres: it is a slab serif with Art Nouveau style but also with many blackletter influences. The angled serifs on the ascenders and the calligraphic flourishes on the the upper and lowercase V, W, and Ys reference marks made by pens. There are also many other special characters that are unlike any other designs. Have a look at the fun lowercase a, the quirky lowercase f and g, and the unique C, F, L, and R for the uppercase. This design works especially well for display sizes, but is also good for short amounts of text. The mood and image suggested by this typeface is great for menus, invitations, and signs when you want to send a personal and friendly message. It's Art Nouveau roots also give it a place in history for designs from the Victorian period up through the 1920's and 30's

Bayside Tavern is a weathered version of our Tavern Alt font family. With its straight sides Bayside Tavern fits better in tight spaces and reads better at smaller point sizes than the regular Bay Tavern version. With three weights, open faced and outline versions to choose from you're sure to find the right style for your new project, restaurant menu, logo, t-shirt design or Pirate costume party. While our original Tavern Alt font has been increased to include five weights additional weights for Bay Tavern will have to wait for now, adding the notched cut in's were all done by hand which causes a lot of cramping so a long break is needed before creating the extra weights. The Fill fonts in the Bayside Tavern family are meant to be layered behind the Bayside Open fonts, if you're using Bayside Open select Bayside Fill, if you're using Bayside Open L select Bayside Fill L, if you're using Bayside Open S select Bayside Fill S and so on.

Mackay is a powerful transitional serif in 6 weights plus matching italics, designed for screen and print. The eccentric serifs on uppercase letters like E, F, L and T are inspired by Alexander Kay’s “Ronaldson” from 1884, working as the starting point for the family. The lowercase letters follow the traditional Antiqua model with attributes tracing back to drawings from the early 20th century. The “grotesk” lowercase a, as well as the sharp lowercase s, derived from the closed shapes of uppercase letters like C, G or S, create a compact and bold appearance while a large x-height and small descenders add a modern look. In favor of a dynamic and elegant impression, the design of the italic cuts come with a strong calligraphic influence. This results in completely new shapes for letters like lowercase a or g, ensuring a smooth integration into their surrounding letters while maintaining a distinctive appearance when combining with romans. The family comes with a variety of opentype features like case sensitive shapes, old style figures, fractions, ordinals and many more. Additional attention was given to the standard and discretionary ligatures, extending the structure of the basic glyphs with elegantly designed letter combinations for g/i, i/t or s/t. According to their dynamic architecture, the italic weights are equipped with additional initial swash characters to subtle accentuate the calligraphic roots. As a result of a high stroke contrast the family works great in paragraphs with medium to large font sizes like headlines, short paragraphs or logos. With its 12 cuts, the family meets all requirements on high quality typography.

Vrinda™ is an OpenType font for the Indic script Bengali. It is based on Unicode™, contains TrueType outlines and was designed by Raghunath Joshi (Type Director) Vinay Saynekar for use as a UI font. Copyright ™ 2004 Microsoft Corporation. All Rights Reserved. Character Set: Latin-1, Bengali

A simple and cool retro, pop art, stylish font for your design. Popstick has a modern, clean and fresh look with nice perfect rounded shapes. This font is best suited for commercial and editorial uses like advertising, apps, sports brand, packaging, logos, headers, corporate identity and much more.

Tunga™ is an OpenType font for the Indic script Kannada. It is based on Unicode, contains TrueType outlines and was designed by Raghunath Joshi (Type Director) and Vinay Saynekar for use as a UI font. Copyright ™ 2001 Microsoft Corporation. All rights reserved. Character Set: Latin-1, Kannada

Recline comes in a modern style featuring 10 weights, 5 straight & angled, making it easy to adapt to your design. An elegant typeface, Recline is perfect for corporate identities, websites, publishing, titles, books, magazines, business cards, logos, product labels, packaging, or any kind of advertising purpose. Thanks for watching

Ryker - Typographically speaking, provides both personality and functionality. It is the perfect combination of unique, distinctive forms that also function with clear recognition & legibility. From publications, packaging to corporate branding, Ryker has you covered with every weight & typestyle - cleverly crafted for every purpose and occasion. Designed by Morice Kastoun.

This font is designed to make it easy to create a corporate identity for delivering delicious food. Bright, pleasant font with decorative elements. Includes 4 fonts: main, decorative, blur, and outline. All 4 fonts contain upper and lower case letters, numbers, punctuation marks and multilingual characters for each style.

After its period of exclusivity expired, the corporate typeface of the Saubermacher recycling company was revised and expanded. Now it is available for everyone! Whether on fresh buttermilk, a Honolulu surfer bar, or a hotel on the Arlberg, this preppy script face is versatile and full of character.

Gianmani Fillet is a sans serif type contemporary designed by Gianmani Yuttapum in 2022. Inspired by the simplicity of the geometric, it is sharp and easy to read, suited to branding and corporate identity, wayfinding, editorial, delicate headlines, digital environments, signage, print, advertising, packaging, text application, and logos.

Mafra, the debut typeface by Pedro Leal, a type family suited both for editorial and corporate design, available in five weights, ranging from Light to Black with matching italics. Mafra is a contemporary typeface with plenty of style, asymmetrical and very dynamic serifs, and pleasant openness and balance.

Shruti™ is an OpenType font for the Indic script Gujarati. It is based on Unicode, contains TrueType outlines and was designed by Raghunath Joshi (Type Director) Santosh Kshirsagar for use as a UI font. Copyright ™ 2001 Microsoft Corporation. All rights reserved. Character Set: Latin-1, Gujarati

Mafra, the debut typeface by Pedro Leal, a type family suited both for editorial and corporate design, available in five weights, ranging from Light to Black with matching italics. Mafra is a contemporary typeface with plenty of style, asymmetrical and very dynamic serifs, and pleasent openness and balance.

The Cochin font is based on the work of eighteenth-century punchcutter, Cochin. Charles Peignot commissioned the revival of this strong typeface in 1912. The capitals are squarish. The lowercase has long ascenders and sharp serifs, giving Cochin an unusual elegance. The curved ascender in the italic lowercase d is a major characteristic and the p and q lack foot serifs. Cochins overall vivacity derives from the engravings on copper, produced in France in the eighteenth century. Cochin is a trademark of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.

Dotum™ features plain strokes similar to sans serif designs with proportional Latin characters, and works well for on-screen display such as user interfaces. This Dotum font file is 5.2 MB in size. Dotum is a trademark of Microsoft Corporation. Dotum font Character Set: Latin 1, Korean code page 949

Hasan Aya is an Arabic display typeface. It is useful for titles and graphic projects The font is based on the simple lines of Kufi calligraphy. This font was created based on the Latin font "Bedrock" which was designed by Corel Corporation in 1992. It supports Arabic, Persian and Urdu.

Gautami™ is an OpenType font for the Indic script Telugu. Telugu is based on Unicode, contains TrueType outlines and was designed by Raghunath Joshi (Type Director) and Omkar Shende for use as a UI font. Copyright ™ 2001 Microsoft Corporation. All rights reserved. Gautami Character Set: Latin-1, Telugu

DotumChe™ features plain strokes similar to sans serif designs with half-width Latin characters, and works well for on-screen display such as user interfaces. This DotumChe font file is 5.2 MB in size. DotumChe is a trademark of Microsoft Corporation. DotumChe Character Set: Latin 1, Korean code page 949

GulimChe™ features plain strokes similar to sans serif designs with half-width Latin characters, and works well for on-screen display such as user interfaces. This GulimChe font file is 5.2 MB in size. GulimChe is a trademark of Microsoft Corporation. GulimChe Character Set: Latin 1, Korean code page 949

MS Gothic™ Japanese font features plain strokes similar to sans serif designs, and works well for on-screen display such as user interfaces. This file is 4.4 MB in size. MS Gothic is a trademark of Microsoft Corporation. MS Gothic font Character Set: Latin-1, Japanese (Code Page 932)

Gatter Sans is a modern family with lots of alternate glyphs with geometric lines. Thanks to the crowd family, it will give you a great advantage in your poster works. You can also benefit from this creative and original family for your digital designs, ui/ux applications, and corporate identities.

Rusty Nail is a carefully hand-made uppercase only typeface with a full Central European character set which comes in two styles, Regular & Bold. It was created for a liquor company where hand-made letters were part of the corporate design. It’s perfect for labels or lettering with a "used look".

Tiffanky is a Classic Cursive monoline font casual and clean stoke font includes alternate lowercase and opentype features Ligatures inspired by the late 80's sign board. It support multilingual more than 100+ language. This font is suitable for logo design and any awesome project you create. Make stunning work with Tiffanky Monoline font. Give your designs an authentic handcrafted feel. "Tiffanky Monoline Cursive Font" is perfectly suited to stationery, logos and much more. Thanks for Download, Maulana Creative

This font was inspired by a 1950’s Royal Quiet De Luxe Typewriter, and features textured letters & symbols, creating a realistic look & feel without needing to source your own antique machine! Each keystroke on an old typewriter shows variations based on the ink ribbon & how hard or soft the typebars strike the ribbon & paper. This font was designed to provide multiple options for each letter so that you can further customize the look & feel of your text.

Moire™ Regular is a block-style sans serif font designed by Jim Ford in the spirit of typefaces popular during the 1950's. The Moire Regular font is slightly more streamlined for a more contemporary voice than its predecessors. Moire Regular is useful for all modern display settings in signs, publications, reports and presentations. The Moire Regular font will also reproduce well in on-screen uses from User Interfaces to web graphics. Character set: Latin 1.

A vintage rubber stamp alphabet and star printing set had a package header with Art Deco-inspired lettering describing the product. Sold by a company called Elvin [circa late 50's-early 1960s], these Japanese-made sets were one of many distributed by independent toy importers and made in various configurations including [at times] tiny animal stamps. The type design on this particular item was the model for Retro Packaging JNL, available in both regular and oblique versions.

“Ending story” is experimental vintage font style that to speak instant nostalgic and retro sensation, it was inspired by the inscription on the shop/hotel/vehicle in the 90's era. “Ending story” will help you to create special and touching typographical design for your vintage and oldschool projects.Perfect when you place them into magazines, book cover, cafe product, newspaper titles, poster, and many more. It is really universal and modern font. The owner of endless possibilities!

Utilize the elegance of Art Nouveau in modern form with Lotus Grove. Lotus Grove is a high-contrast serif typeface with deep roots in Art Nouveau aesthetics. In contrast to its archetypal models, Lotus Grove boasts a clean-cut and smooth design, perfectly suited for modern requirements. It is a fancy typeface that suits any kind of display use. Lotus Grove is equipped with Stylistic Alternates for letters G, E, K, R, S, T and ampersand.

Brice refers to cultural products of the 80s such as music, art, literature, fashion, dance, film, that are consumed by the majority of society population. The Characteristic of Brice are in the small bouncy serif with a dynamic contrast, like R, B, S, K, P, etc. Perfect for Logotype, Caption, & Header. Brice are available in 5 Widths (Condensed - SemiCondensed - Normal - SemiExpanded - Expanded) with matches 6 weights (ExtraLight - Light - Normal - SemiBold - Bold - Black) and support for 75+ language.

Neo Phalanx is a rectangular, circular & curvy modern display sans inspired by Ancient Greek mass military formation. The difficulty of make this font is balancing rounded corner & sharp edge. There are letters like "M W A H R N K S Z" provides a unique personality in the title display. Numbering and punctuations also designed in unique styles to deliver different visual language. This font is suited for variety of applications from poster to branding, advertising, digital.

Spooktacular font family is the fusion of beatnik movement on 1950's, vintage horror movie, and vintage comics. The typeface offer the magics of open type features such contextual alternate and stylistic alternate which make the typeface looks more playful. Spooktacular comes with extra doddle dingbats to make your design looks perfect. Spooktacular Font Family best uses for headings, Logo type, quotes, apparel design, invitations, flyer, poster, greeting cards, product packaging, book cover, printed quotes, cover album, movie, etc

Atze, a handwriting script font, was designed by Ralph M. Unger for the profonts Library. Inspired by frowned-upon Comic Sans, Atze is much more pleasing, much milder and more natural. It cannot and should not only be used for Comics and children?s books but for literally all situations where a friendly, soft, casual and relaxed atmosphere is required. However: Especially for Comic books, Unger created a set of very funny Atze Bats: AAAAH ? BOOOM ? BRRRR!

Alfrere Sans is a clean Sans Serif display family inspired by a well-known 1950s television caption. The family of seven faces have been designed for independent use, but they also have an extra feature. All faces have identical metrics and can be overlaid with each other, to yield an unending range of multi-colored lettering effects. Bring a touch of the 50's to your next poster design. Better yet, explore the world of multi-colored overlaid typefaces....