Georges Peignot designed Cochin based on copper engravings of the 18th century and Charles Malin cut the typeface in 1912 for the Paris foundry Deberny & Peignot. The font is named after the French engraver Charles Nicolas Cochin (1715–1790) although its style had little to do with that of the copper artist’s. The font displays a curious mix of style elements and could be placed as a part of the typographical Neorenaissance movement. Cochin is especially large and wide and was very popular at the beginning of the 20th century.

Cherolina is a lovely elegant script font that includes a full set of uppercase and lowercase letters, numerals, multi-lingual support, punctuation and ligatures. You also get short lowercase beginning and ending swashes, and lowercase ending swashes which serve to connect two words or letters. Those are so perfect for invitations, monograms. This font also includes long lowercase beginning and ending heart swashes. Cherolina has a smooth texture so would be perfect for all types of printing techniques. You can use it for embroidery, laser cut, gold foil and more.

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.

The Poole Chiselcut faces are a useful companion to the regular Poole fonts. In the Standard weight, the diamond shapes inside each character, work toward an elegant, sophisticated look. In the Mid and Heavy weights the chisel cut makes the alphabets look Victorian. In particular, the Heavy weight look is that of a circus letter. Of course the 2 color options for this group are endless. Used in concert with the rest of the Poole Family, or as stand alone fonts, the Poole Chiselcut set is a useful addition to your library.

Taranto was inspired by the typeface Domino by J. C. & M. Demarchi (published by Mecanorma in 1973). At its core, it follows the design language of Domino, but goes much further than its source of inspiration. (see fontsinuse.com for more info on Domino). The Taranto font family consists of 4 individual fonts (Thin, Regular, Black and Fill). Each font contains a glyph set of about 240 glyphs (Western European character set) and also contains alternates for some characters. Taranto Fill is designed as an underlay for the regular and thin cut. but also works fantastic as a very bold standalone.

Linotype Cutter was designed by Georg John in 1997. As the name suggests, the font looks like it was cut out of black cardboard pieces. Each letter has a irregular rectangle black background and they combine to form heavy rows of letter elements. The strong contrasts of the font make it good for short headlines or initials in larger point sizes and combines well with almost any text font. Georg John made a second version of this theme called Linotype Schere (scissors) it is a companion typeface where the conturs of the letters are even rougher in its form.

It's a weird name, but it's a weird font! Introducing RAISIN RAGE, a quirky font that expresses that feeling of when you bite into a cookie expecting it to be full of chocolate chips, but it's full of squishy, rubbery raisins instead. (Don't write to me, raisin lovers - you'll never change my mind.) Raisin Rage has some fun casual elements like varying stroke widths plus some bouncing heights which make this fun to use for branding, packaging, logos, and more; I've cleaned the letters up extensively, so the font is great for cutting and crafting as well!

The gifted Hungarian punch-cutter and printer Miklós Kis was active in Amsterdam in the 1680s. Among the many fonts that he cut during those years were a ‘mediaen’ (pica-sized) roman and italic, and the digital Miklós fonts are an interpretation of these ‘mediaen’ types. The character set has been extended to cover all the European languages that use the Latin alphabet, and the fonts offer OpenType features such as small capitals; old-style and lining figures, both proportional and tabular; fractions; superior and inferior numbers; superior alphabet; contextual and stylistic alternates; and intelligent application of long ‘s’.

Peter Schoeffer was a printer who was apprenticed to Gutenburg and after leaving Gutenburg in 1455 he set up shop with Facob Fust. His son, Peter the Younger, moved to Mainz and carried on the trade. This particular font is based on a typeface of Peter the Younger that was cut circa 1509-1520. This font has over 900 characters. While there are only about 80 in the historical exemplar the rest have been developed for modern usage. This font is based on Typ.7:146/148G also known as Gesellschaft für Typenkunde plate no. 258.

BLOGGY designed in 2010 by André Toet. In the series of typefaces that were created by our team, BLOGGY stands out as a rough typeface based on a grid. Within this square grid the typeface is enlarged and reduced in size in order to create a dazzling font. A complete ‘extra alphabet’ was added to the font by cutting the letters diagonally. To us typedesign doesn't only mean designing fonts for books but also advertising, posters, film or digital use. We hope that BLOGGY will do the trick ! Concept/Art Direction/Design: André Toet © 2017

Sparkster - Futuristic Font Introducing Sparkster, a bold and sleek futuristic font inspired by modern digital technology. This typeface is designed to create a cutting-edge and futuristic vibe for your design projects. The Sparkster font family includes both uppercase and lowercase characters, with Opentype features such as alternates and ligatures for a more customized look. The idea behind Sparkster was to create a typeface that captures the essence of digital technology and future-oriented design. With its bold and sleek appearance, it is perfect for a wide range of design projects, including logos, covers, posters, branding, UI, titles, and more. Whether you're designing for a tech company or a forward-thinking brand, Sparkster is sure to make a statement. For a futuristic and modern look, try using Sparkster for your branding and packaging projects. Its bold and sleek appearance is perfect for creating a cutting-edge and futuristic feel that will make your brand stand out. You can also use Sparkster for album covers, posters, and social media graphics to give your designs a high-tech and futuristic vibe. Sparkster comes with a range of features, including uppercase and lowercase characters, Opentype alternates and ligatures, and multilanguage support. It also includes numbers, punctuation, and symbols to make it versatile for a range of design projects. In the font package, you will receive three different file types: Sparkster OTF, Sparkster TTF, and Sparkster WOFF. This ensures that you can use the font on a range of devices and software programs. In summary, Sparkster is a bold and sleek futuristic font that is perfect for creating a cutting-edge and modern look for your design projects. With its unique and customizable features, you can make your designs stand out and make a statement. Try using Sparkster for your branding, packaging, logos, album covers, posters, and social media graphics to create a high-tech and futuristic feel.

Wood Clarendon JNL is based on Hamilton Clarendon Condensed (circa 1899) and is available in both regular and oblique versions. The design of this typeface retains many of the charming (but slight) design irregularities often found within pantograph-cut wood type from the 1800s through the early 1900s.

Stencil Board JNL is another typeface modeled from lettering made by a Diagraph stencil cutting machine. Diagraph was first to make stencil punch machines which are used both industrially and by the military. Thanks to Neil Haynes for the samples he provided from the company's machine testing department.

This typeface is Mergenthaler Linotype’s unlicensed version of Futura, copied weight by weight from Bauer. It was produced in 1939 when Metro failed to gain a significant share of the market, and was later adopted by ATF. The small sizes of Book and Heavy cut for classified are original.

Potpourri was based on an energetic alphabet written by expert calligrapher Gottfried Pott. To create the elegant yet rugged strokes, Pott cut a pen with a unique fringed tip — from a drinking straw! He then produced an huge series of drafts before deciding on the final alphabet for digitization.

Unearthed by our friend Dimitris Karaiskos in an antique shop in Vienna, we digitized it and added more glyphs. Blitzplakat is the name of this pre-Letraset system, where you could make your own little advertising posters by cutting out these letters and sticking them on paper like stamps.

Signboard JNL is based on die-cut cardboard display lettering once made by the Duro Decal Company (now Duro Art Industries) of Chicago, Illinois. Available in various sizes, these letters and numbers could be affixed to a number of different surfaces to make affordable signs, displays and show cards.

Black Goose is a display typeface with regular, cut, styled, rounded, and reversed font styles. It adds elegance, modernity, playfulness, approachability, and intrigue to your designs. Supporting 87 languages, it ensures effective communication across diverse audiences. If you're looking for a more edgy and contemporary vibe, the cut style of Black Goose will be perfect for you. With its sharp angles and distinct cuts, it adds a bold and modern twist to your designs, making them stand out from the crowd. For those seeking a touch of playfulness and uniqueness, the styled variant of Black Goose offers decorative elements that enhance the overall design. It brings a sense of whimsy and creativity to your projects, making them visually captivating and memorable. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Mock ups and backgrounds used are not included. Thank you! Enjoy!

The lettering style of Lancashire's finest comic book artist, graphic novelist and NEMESIS deviant Bryan Talbot is finally at your beck and call thanks to the good graces of those awfully nice chaps at Comicraft. Created for Bryan's magnum opus, Alice in Sunderland, the Bryan Talbot font will take you on a journey into delirium, through the looking glass of British underground comix into the complex world of experimental narrative techniques and bestow upon you semi-legendary cult status and prestigious awards from no less than the New York Times.* *Results may differ if you are not actually Bryan Talbot.

Tannen is an interpretation of the Emil Meyer’s Tannenberg, the result is a fun and cool blackletter display built without curves and casual look with a lot of personality and expressivity. It has 3 independent styles (regular, inline and shadow) that can be combined with each other, plus a stencil style. Tannen counts with 3 weights per style, OpenType features (ligatures, alternates, fractions and more) and supports dozens of latin languages.

I present my funny font with "Hocus Pocus"cutouts This is a playful font in the style of a cut-out "all capital letters". Lowercase letters are filled with letters (A, O, B, etc.), and uppercase keys have ordinary black letters. :) Great for sweet greeting cards and invitations, for playful branding and quotes, for unusual packaging and much more! This font is unique and simple:) Font Features • character set A-Z, A-Z; • 1 languages (English); • numbers It is recommended to use it in Adobe Illustrator or Adobe Photoshop Made with love ♡ Thank you for stopping by, and I wish you a creative day!

This highly stylish, engraved blackletter font was cut by Rudolf Koch between 1919 and 1921 for Klingspor in Offenbach on Main. It was then sold under the name Deutsche Zierschrift. I completely redraw and extended this font and called it Zierfraktur. To take full advantage of this fine headline blackletter font, please use it from, at least, 18 points upward. This font contains a bunch of useful ligatures, and it is recommended to activate both Standard and Discretionary Ligatures. The round s can be reached by typing the # key, and you get the numero sign by typing the combination N-o-period and activating the OT feature Ordinals.

IxD is a modular, semi-futuristic sans serif that uses its geometry to evoke the kind of future we all thought we'd have back when we were kids: sleek, assertive, cool. Many of its deep cuts and unusual letterforms are strikingly out of the norm, but they still feel inviting.

A freestyle serif typeface, some details of its letterforms are modelled after flat-nib pen calligraphy (serifs with slanting ends, cutting terminals). Three decorative calligraphic versions with swashes and connecting elements are incuded. For text and display typography. The face designed by Natalya Vasilyeva and licensed by ParaType in 2007.

Hoosier Daddy is based on Foundry Type samples from various mid-19th century specimen books. This shaded slab serif was made by conforming several different cuts of the styles, filling out the character set, and adding a few contemporary touches for freshness. This is a display face. Use it big.

Montage was designed by Alan Dempsey. Like the name suggests, the design was inspired by the arrangement of elements such as torn paper, cut-outs, scratch board and stencilled letters. Montage is a creative, eye-catching alphabet of casually drawn letterforms set on a background of daub-like brush strokes.

Scissorgirl by Julia Friese and Clare Keogh OpenType, 1 style Scsissorgirl is the crafty work of Ms. Julia Friese and Clare Keogh with the unselfish help of Josema Urós. Following Cortada path, this is a new fresh cut-out typeface, made not with vectors but real scsissor strokes on cardboard.

ITC Veljovic Script was designed by Jovica Veljovic and displays an obvious calligraphic heritage. The designer was strongly influenced by German designer Hermann Zapf and Israeli designer Henri Friedlander. ITC Veljovic Script exhibits a crisp precision, as if the letters were cut in stone rather than drawn with pen and ink.

MAGIC WORLD is embodied in fun and joyfulness. It is a bold and thick lettered display font. This font is perfect for children-themed designs, especially when combined with bright colors. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation. Get creative with its childlike playfulness, and use it to brighten up any kids and school project! Use this font for any crafting project that requires a personalized look! What’s Included : - Works on PC & Mac - Easy to use ( Installations ) - Compatibility Windows, Apple, Linux, Cricut, Silhouette, and Other cutting machines Thank you for purchasing this font. Please appreciate it, if you like this. ENJOY it :)

Before the mid-to-late 1970s, when retailers started to embrace UPC (universal price code) technology on a grand scale, pricing merchandise took on many forms. One method especially popular with variety stores (such as Woolworth's, McCrory's, Kress, etc.) were pre-printed price tags that came in small pads and were inserted into metal holders. Shelf Tags JNL recreates a vintage price tag based on examples seen online, and allows the user different ways to create their own vintage-style price tags. You can either utilize the round pen nib style numbers and price marks to place on any size or type tag, or type out prices using the reversed characters (white on black) along with the two end caps provided to form a complete tag unit. For the more adventurous, a complete blank tag is also provided in case the desire is to print a solid color tag background and [using the regular numbers] crate prices in custom colors. Two sets of smaller number (for "floating" cents prices) are also provided in regular numbers and reverse panels. As an extra bonus, there is a set of 1 through zero, dollar sign, cents sign and decimal point individual black-on-white outlined panels for making individual pricing numbers. The keyboard layout for the various characters is as follows: asterisk key - regular cents sign (no panel) dollar sign key - regular dollar sign (no panel) period key - regular decimal point (no panel) left and right parenthesis keys - panel end caps (to form price tags) colon key - reverse decimal point on black panel 1 thru 0 keys - regular numbers (no panels) A through J keys - small regular numbers (no panels) K and L keys - truncated [shorter width] end caps M through Y keys - individual price numbers (black on white with black border a through j keys - reverse numbers on black panels k key - reverse dollar sign on black panel l key - reverse cents sign on black panel m through v keys - reverse small numbers on black panels w through z keys - blank rectangular panels of varying widths equal sign key - full black panel price tag hyphen key - blank rectangular black panel based on the width of most number panels

Slapjack is a unique rendition of a broad-edged calligraphic script ideal for packaging, signage, and titling. Its presence is strikingly bold and rhythmic, yet stylishly elegant. With a glyph count well over 700, Slapjack is a fully-featured pro font. Both regular and light weights have contextual and stylistic alternates, stylistic sets, swashes, ligatures, fractions, and Central European language support. Using Adobe InDesign which supports Stylistic Sets allows you to instantly convert your text to a version without baseline connectors for a more streamlined look. These can also be selected via the glyph palette. As a bonus feature, unlike most script fonts, Slapjack is designed to also set well in all caps adding to its versatility.

We count three inspirations for the László font family. The upper case was inspired by Yomar Augusto’s amazing font Unity, used on last year’s German World Cup Team jerseys; the lower case from a few letters a poster for a Bauhaus show. The name László is an homage to László Moholy-Nagy, peerless Bauhaus designer and teacher. The László type family is stripped down to the typographic core, lean, clean and definitely machined, at home in either a formal or casual setting, i.e. you can take László anywhere. Inspired by watching the World Cup and the German Team’s jerseys. Very clean, simple, Bauhaus-style design, European and highly legible. Usage recommendations Automobile ads, anywhere a European feel is desired.

Open, outline or inline faces became very popular in the 1940's. By removing the usual weight, a clear-cut letterform is achieved. In Caslon Open Face, the right-hand strokes are accentuated, providing a slightly three-dimensional effect. The ascenders of Caslon Open Face are large and the overall design of this version does not relate to Caslon 3 Roman. This Caslon Open Face font is good for personal stationery, or sentences where a decorative but distinguished result is sought.

This is the rounded version of Penta! »Penta« is a new Sans typeface, designed in the American tradition with contrast between the up- and downstrokes. The contrast is hardly visible on the »thin« cut, but the heavier the weights get, the more contrast becomes visible. That makes this font very useful, almost linear in the lighter weights and very distinct rhythm in the heavier ones. »Penta« is extremly versatile, it can be used for bodycopy in the lighter weights and for heavy headlines.

ALS Ekibastuz is a contemporary urban-style typeface extremely suitable for periodicals and advertising. It has defined, open, clear-cut letterforms and modern proportions. Originally designed to work well for headings, Ekibastuz was developed further to give a distinct energetic feel when used at large sizes and be highly readable and neutral at small sizes. It consists of six font styles and offers a wide choice of weights, which is useful for creating contrast between boxes of text on a page.

Barking Frenzy may look as if it was cut out of paper or cardboard, but it's not! It was drawn with a rugged pen, leaving rough edges here and there. It's great for children's books and toys or maybe handcraft or other handcrafted activities. I've added 5 different versions of each lowercase letter and these appear randomly as you type. That way your text looks really natural and organic, because the letters rarely repeat themselves. Also the font has multilingual support!

Hello there, Proudly presenting SUPER DISCOUNT. It is stylish marker font. It’s in two styles: Regular and Bold. SUPER DISCOUNT was designed to make logotype and lettering for your brands. And it’s would perfect for t-shirts/ apparel, promotional materials, sports, music festival, quotes, special events, or anything. What’s Included : Works on PC & Mac Easy to use ( Installations ) Easy Convert to Webfont Compatibility Windows, Apple, Linux, Cricut, Silhouette, and Other cutting machines Thanks for downloading, and I hope you enjoy it!

Open, outline or inline faces became very popular in the 1940's. By removing the usual weight, a clear-cut letterform is achieved. In Caslon Open Face, the right-hand strokes are accentuated, providing a slightly three-dimensional effect. The ascenders of Caslon Open Face are large and the overall design of this version does not relate to Caslon 3 Roman. This Caslon Open Face font is good for personal stationery, or sentences where a decorative but distinguished result is sought.

The first Century typeface was cut in 1894 by Linn Boyd Benton in conjunction with T L DeVinne for the Century Magazine. It was a blacker, more readable face than the type previously used. Morris Fuller Benton designed the Century Expanded version in 1900 for American Type Founders to meet the Typographical Union Standard of the day. The 'expansion' was in the vertical plane. Century Expanded is a useful font family for text setting in magazines, books, presentations and newsletters.