This family was inspired from the set of fontfaces used by Francisco Del Hierro, to print in 1726 the first Spanish language Dictionary from the Spanish Royal Academy (Real Academia Española, Diccionario de Autoridades). These two Transitional styles are said to have been the first set of official typeface in Spain, like the French “Reale” (take a look at our "[/fonts/glc/1790-royal-printing/ 1790 Royale Printing)". In our two styles (Regular & Italic), fontfaces, kernings and spaces are as closely as possible the same as in the original. This Pro font is covering Western, Eastern and Central European, Baltic and Turkish languages, with standard and “s long” ligatures and twin letters in each of the two styles and a few Italic swashes inspired from the font used in 1746 by the same printer for another edition from the Royal Academy.

Hand drawn serif typeface designed for one of our books. You can use just the regular style or set the fill style over the stroke style to get a more colorful version. It has upper and lowercase characters with up to three alternate glyphs. Build in OpenType Contextual Alternates feature will automatically set alternate glyphs depending on frequency of appearance of the same character (even in web font but only in HTML5 browsers). The script doesn’t throw random glyphs (so it won't break the layered, two colored version). For example in the word “HIPPOPOTAMUS” you will automatically get three different “P” glyphs and two “O” glyphs. It really works great but of course you can always fine tune it by hand. Mr Anteater has younger sister. Mrs Ant was designed for side notes in the same book.

It was my first attempt to drawing a Hebrew alphabet to mach directly with other typeface (Latin) which I already designed. The Latin version is an handwriting display typeface influenced by chancery handwriting from the Italian Renaissance (broad-nib pen). One of the most typographic characteristic is there wavy forms, especially the serifs, where contains some of the main calligraphic references from this font family. The Hebrew script contain reverse contrast, the vertical proportions are more tall and the stroke weight is slightly more strong than latin lowercase to produce a correct visual balance between them, especially on small sizes (text proportions). This Hebrew square book-hand was influenced by Sephardic script style. The Latin characters contains interrupted strokes, the same was made for Hebrew letterforms to transpose correctly the same calligraphic approach between these two different alphabets.

Luben is a quirky serif font in five weights. The high x height gives it excellent readability and the curves give it a kind of retro feel.

A revival of one of the popular wooden type fonts of the 19th century. Suitable for text or display, Teutonic features short descenders, and rounded, curved serifs.

This Candillas font is made with a marker that has a curve that looks beautiful to look at and can be used for a variety of purposes.

Redwinger is a captivating display font designed with a games theme, featuring different proportions of letters and sharp, uneven borders. This font showcases different proportions in its letterforms, adding a sense of variety and excitement to the font. Each uppercase letter has its own distinct width and height, creating a visually engaging composition. This design choice adds a playful and dynamic element to the font, reflecting the diversity and unpredictability of the gaming world. The sharp and uneven borders of Redwinger enhance its edgy and adventurous aesthetic. The jagged edges and irregular shapes give the font a distinctive and daring look, evoking a sense of action and intensity. This unique feature adds a touch of excitement and captures the spirit of gaming. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Redwinger fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other projects that aim to transport players into thrilling virtual worlds. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Back in 1800 - 1900, the Serif fonts or known as Roman styles were very popular. Used in so many media, came from calligraphic technique and refined till it became a solid style even so many sign painters use this letter style back in that era. And today, these kinda style still got their fans who love the elegant yet clean solid style. That's what this came for. Please welcome, Sicero Duo Fonts. Its a dynamic duo fonts that came in Serif and Sans-Serif style which is perfectly fit to each other. Bring the old vibes instantly to your project with them :) Sicero Roman A Serif style font with implementations of old-era style, clean and done in click-by-click to fulfil your perfectionist personal. And it comes in Old Style Numbering too, to make the vibes stronger in the whole vintage design when using it. Sicero Sans A Sans-Serif font to make a good pair with Sicero Roman still holding those old vibes but a little bit modern touch in here to reach wider range of trends. Use it all alone is still good to go if you want something different with not pairing it with Sicero Roman as well. Available in OTF, TTF, and Webfonts. Enjoy it more. Have some fun with it, Oldsport :) Cheers, Konstantine Studio

Guanabara is the third release of Plau Type Foundry. It started from the need of a wayfinding typeface that had personality enough to be the brand typeface for a city. The city of Rio de Janeiro, with its never-ending curves and all year long summer weather provided the constraints and requirements of this typeface. From there, it evolved to be a workhorse, with 8 weights from Thin to Black and matching true italics. It just had to have the features that all us designers have grown to love, such as alternate letters (a, g and r for the romans), tabular and proportional figures in lining and oldstyle set-ups as well as small caps, fractions and all that jazz (I mean, samba). And it needed to be recognizable and distinct. For that, design features like tapered R legs, capitals with classic proportions and calligraphic finishes on the terminals proved crucial. And last, but not least, like Rio, it had to welcome many cultures. We came to think of it as the “Typeface from Ipanema”, with a classic, timeless look, swinging elegance and joyful attitude.

Kemanala – An Enchanting Script Typeface Kemanala, an enchanting script typeface, dances gracefully across the page, intertwining elegance with whimsy. Its flowing and organic strokes exude a wonderful sense of fluidity, capturing the essence of handwritten beauty. Each letter in Kemanala is meticulously crafted, featuring delicate curves and stylish flourishes that add a touch of sophistication to any design. Whether adorning invitations, branding materials, or artistic projects, Kemanala effortlessly bridges the gap between timeless charm and contemporary style. With its versatility and charm, this script typeface invites users to weave a narrative of their own, making every written expression a journey into the realms of enchantment and creativity. Kemanala stands as a testament to the artistry of script typography, offering a harmonious balance between classic appeal and a touch of delightful modernity. Kemanala is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Looking to infuse your brand with a burst of retro charm and a dash of pop culture pizzazz? Say hello to our Gresua Fonts! Designed to make your brand stand out in the realms of pop culture, lifestyle, and food and beverage branding, these fonts are an absolute game-changer. Gresua transports you to the golden era of the past, evoking a sense of nostalgia that resonates with pop culture enthusiasts. Seamlessly blending boldness and authenticity, they captivate the hearts of your audience, adding a unique and irresistible touch to your brand identity. In the ever-evolving world of pop culture, lifestyle, and food and beverage branding, it's essential to stay ahead of the curve. Our Gresua Fonts combine vintage aesthetics with a contemporary twist, allowing your brand to shine as a trendsetter. Embrace the bold and unexpected, and watch as your brand becomes the talk of the town. Are you ready to take your brand on an unforgettable journey through the realms of pop culture, lifestyle, and food and beverage branding? Embrace the captivating allure of our Gresua Fonts today and unleash a world of endless possibilities!

Rishiona – A Modern Stylish Serif Font Rishiona, a contemporary and stylish serif font, captivates with its seamless fusion of modern aesthetics and timeless elegance. Each meticulously crafted letterform exudes sophistication, boasting clean lines and balanced proportions that effortlessly navigate the intersection of tradition and innovation. The serifs, with their subtle yet distinctive details, add a touch of refinement, elevating Rishiona to a font that is not just functional but an artful expression of sophistication. Whether employed in digital interfaces or print media, Rishiona commands attention, offering a versatile typographic tool for those seeking a perfect blend of sleek, modern design and classic serif charm. With its subtle curves and sleek lines, Rishiona stands as a testament to the power of typography in shaping contemporary visual identities with a nod to enduring style. Rishiona is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Callisto is a classic serif stencil fonts that is a stencil font like no others. Elegant curves are paired with great legibility and wide range of available glyphs. While stencil fonts are generally thought of as too masculine and rough, Callisto is very feminine and soft, which makes it perfect as a logo font for those who seek to further emphasise their brand's identity. Despite being a display font, Callisto looks great at smaller sizes, so short headlines and headers will look natural and email legible even in smaller sizes. Callisto comes in two styles —Regular and Half —which can easily be combined within the same body of text. Regular is a more minimal style, with wider and more open apertures, while Half is a hybrid between a serif and stencil font that still has longer strokes and stems. Each style consists of 415 glyphs, ranging from fractions to diacritics. There are a number of glyphs with cool stylistic alternatives (which is awesome for branding), lots of punctuation and OpenType features. Callisto is a great font for designers and artists who need a feminine font with a really strong character.

Designer Steven Skaggs wanted a versatile uncial typeface that was not simply decorative. Traditionally, a true uncial is a majuscule form, entirely lacking in ascenders and descenders. However, by designing Rieven Uncial, Skaggs found a way to use the true uncial as inspiration but retained a lowercase look and feel. Typically, uncials do not have italic forms but in order for Rieven to be a truly versatile face, it was imperative that it should be accompanied by an italic. The italic form owes much to the historical roots in the letra antigua cursiva of the 15th century humanist masters. Rieven Uncial was awarded a Certificate of Excellence in Type Design in the 2010 TDC2.

The ITC Nova Lineta™ design is the first commercial typeface from Slobodan Jelesijevic. As with many typeface designs, it began as simple sketches. “I was working on a packaging design project,” recalls Jelesijevic, “and wanted an informal, slightly cursive design for the type. I could not find anything that matched my need, so I began sketching.” The preliminary design had an elegant yet fresh quality that, once developed, turned out to be perfect for Jelesijevic’s project. After its first use, however, Nova Lineta lay dormant for over a year. Other projects came and went, and new typeface ideas filled Jelesijevic’s notebook. Although Nova Lineta continued to tickle the creative crevices of his mind, no more work was done on the face. Then, in a period between projects, Jelesijevic began to polish the design – and, in the process, created extended and condensed versions to complement the normally-proportioned original. Born in Gornji Milanovac, Serbia in 1951, Jelesijevic graduated with a degree in graphic communication and lettering from the Faculty of Applied Arts in Belgrade. These days, Jelesijevic is sought out not only as a typeface designer, but also as a graphic designer and illustrator. When not working on design projects, he teaches graphic communication at the Faculty of Art in Niš, Serbia. Although it is a casual and inviting design, Nova Lineta has been carefully constructed and refined. As a result, it performs exceptionally well within a wide range of sizes and in a wealth of applications. An ample x-height, open counters and distinctive character shapes also ensure a high level of legibility. And, although at first glance Nova Lineta may appear to be a sans serif design, subtle serifs make their presence known at large sizes. Nova Lineta emanates warmth when used for extensive text, and it has a fresh quality at display sizes. The small family’s range of proportions also provides added flexibility. The result is a friendly yet powerful communication tool in a remarkably modestly-sized package.

Caroni is a cute handmade typeface, which was originally created in 2018 as a free font. It has a simple and clean look, and works great for longer texts. Caroni has already been used in numerous children's books, so now it was time to extend Caroni's look, and add more styles. The Caroni Family at a glance If you like Caroni, you will love the Caroni font family! Caroni now comes in bold and italic, and it has nine awesome siblings: Avenue (all dressed up with stylish serif strokes) Lime (the skinny version of Caroni) Avenue Lime (the skinny version of Caroni Avenue) Tabanca (dark and heavy, this is Caroni's brush version) Doubles (enhanced with fine lines) Fete (with fun little dots) Coconut (Caroni's outline style) Soursop (Outline with dots, a great display font) Carnival (a quirky and fun all-caps version) Caroni was created while staying with a friend in Trinidad, hence the names :) Languages supported: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Jola-Fonyi, Kabuverdianu, Kalenjin, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Morisyen, North Ndebele, Northern Sami, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkish, Turkmen, Upper Sorbian, Vunjo, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Zulu

A revival of one of the popular wooden type fonts of the 19th century, condensed, bold, curved serifs, a very useful design for display, upper and lower case.

A blocky and bold geometric sans with inner angles and outer curves. No ascenders; lower case characters are as big as the upper case. Mix cases for variety.

Danu font is a font with a traditional style with a minimalist approach, this font is inspired by Javanese script with curved letters and some dots in it.

Originally released free as Aunchanted, but completely redrawn with gentler curves to give a softer feel to the face. Aunchanted Elite has been expanded and updated in 2022

Linguista is a gorgeous monoline script, full of personality and curves. It features a natural flow that makes it perfect for any project that requires a handwritten feel.

Lyra is an Italian Renaissance script that might have developed if metal type had not broken the evolution of broad pen calligraphy. It lies in the area between the humanist bookhand and the chancery cursive, combining the fullness and articulation of the Roman letters with a moderate italic slant and condensation. A steep pen-angle allows use of a broader pen relative to the x-height, giving the letters more contrast with light verticals and heavy curves. Lyra embodies the Renaissance spirit of refining technical advances of the late middle ages with reintroduction of ancient classical principles. Based on the moving penstroke with constantly changing pen-angle, it brings the vitality of handwriting to the ordered legibility of type. Lyra is a formal italic, too slow for copying books. By eliminating the element of speed, digital technology opens up a new level of calligraphy, bringing it into the sphere of typography as would naturally have happened if metalworkers had not controlled the process. If classical Western traditions are respected, digital calligraphy has the potential to recapture the work of the past and restart its stalled evolution. There is of course no substitute for the charm of actual writing, with each letter made for its space; but the tradeoff is for the formal harmony of classical calligraphy as every curve resonates in tune with every other. This three-weight font family marks Philip Bouwsma's much-requested return from a three year hiatus. It also reminds us of his solid vision in regards to how calligraphy, typography and technology can interact to produce digital beauty and vesatility. Each of the three Lyra fonts contains almost three character sets in a single file. Aside from the usual wealth of alternates normally built into Bouwsma's work, Lyra offers two unique features for the user who appreciates the availability of handy solutions to subtle design space issues: At least three (and as many as six) length variations on ascending and descending forms, and 65 snap-on swashes which can be attached to either end of the majuscules or minuscules. The series also offers 24 dividers and ornaments built into each weight, and a stand-alone font containing 90 stars/snowflakes/flowers, symmetric contstructs for building frames or separators, masking, watermarking, or just good old psychedelia.

Since 2010 I started my research and experimentation in layered fonts, and I immediately understood that the future of creative graphic fonts is precisely the exploration of it. Over the years I have tried different expressions on the use of the layered system ... but I realized that my propensity to use colors in the font led me to the creation of BILYA. The real creative cue of BILYA is the wonderful childhood memories where nostalgia for them generated the creation of it, which I dedicate to all lovers of glass marbles classic game and beyond. BILYA Base, Outline, Color One, Two, Three, Four, Five and Color Six is a 8 font system that can be layered in different ways to create infinite title effects used commonly in poster and logo design, in flat gradient color style for spectacular 3D emboss styles or realistic 3D logos design projects. BILYA’s layer combinations give you complete control in producing styles like, modern, 3D, beveled. It can be used alone and/or in layered and allows you adjust leading and kerning. Each font contains the similar metrics, so when your title is set, copy and paste in same position to create different layers styles combinations to build out your desired effect. BILYA works great in any graphics application that allows you to utilize layers or 3D graphics effects.

Gerard Unger’s new typeface Alverata is a twenty-first-century type-face inspired by the shapes of romanesque capitals in inscriptions of the eleventh and twelfth centuries, without being a close imitation of them. It is additionally based on the early twentieth-century model, but tweaked so as to prevent blandness and monotony. Alverata performs beautifully in both screen and on paper, delivering excellent legibility. Its letters are open and friendly in small sizes and lively and attractive in large sizes. They are robust, and show refinement in their detail. It is an extensive type family, with versions for both formal and informal applications. Alverata consists of three different fonts: Alverata, Alverata Informal and Alverata Irregular, that variate in form and width, but maintain the same spirit. The ‘irregular’ version is particularly inspired by the Insular letterforms, the uncials, and their constantly changing positioning. Alverata PanEuropean includes Greek and Cyrillic relatives. The typeface strikes a balance among Europe’s diversity of languages, combining contemporary typographical practices with features of medieval letterforms, from the time when Europe came into being. Visually, some written languages, such as Czech and Maltese, differ quite strongly from languages like English and German, notably because of their many accented characters. While other typefaces will show this difference, Alverata removes it. As a result, Alverata enables harmonious convergence of languages.

In the 1943 Three Stooges comedy short “Higher than a Kite”, Curly reaches into a box with the label “hand grenades” painted on its side and pulls out one of the devices. The bold, squared stencil hand lettering on that prop inspired Stencil Label JNL, which is available in both regular and oblique versions.

Kevin Curtis runs a site called Damosel's Printer's Blocks, specializing in rare an unusual examples from the years when letterpress was the main source of printed material. He graciously provided the source material for Print Damosel JNL. The collected images represent a varied cross-section of ornamentation, embellishments, attention getters, decorations and whimsical illustrations.

Hoplight is a friendly, curvy, hybrid. A fusion of the cool character of a roman, with the flow and informality of an italic. Throughout Hoplight, many sharp serifs have been replaced by dot style serifs, to allow the contours of the letters to flow seamlessly into the terminations. Hoplight embodies a sense of playful ease.

Strawn is my Wobbly and curvy funk font with bouncy serifs. Watch it bounce its way down the street, or into your next project - you know, that one that needs a fresh breath of fun! Comes with both fi and fl ligatures! You will need to use OpenType supporting applications to use the autoligatures.

Sniplash is a lively font inspired by cartoons and comics of the 1960s and '70s. Casual and organic, this font features curly lines and irregular weights in Regular, Light and Bold styles. This design defies serious analysis and offers a fun attitude for lighthearted design. Excellent for parties, retro packaging or any number of uses.

The original superellipse typefaces coincided with the emergence of the CRT (cathode ray tube) TV screen, but there is more than this visual analogy of high-tech in play, as the pumped up angularity of the curved components of the genre also informs the quality of set text. In particular, due to the straightness of the round letters’ side stems, there is a neat modularity of vertical letter spacing, which denotes authority, with precision, complementing the tautness of the face’s curves.

Quench is a fun and unique typeface from designer Hannes von Döhren. It is unmistakably characterized by its strong contrast of inside and outside forms. The counters are nearly straight and have many right angles. Conversely, the outside curves are smooth and rounded making them soft and almost bubbly. The italics have juicy curves reminiscent of brush lettering. Used together or individually, the four weights and styles can be used for a wide variety of projects including magazines, advertising, logos, and branding.

Aquabay is a natural handwritten font that has cute spirit. This font comes with upper and lowercase Basic Characters, Numbers, Marks and Punctuation. As a feature you have also the standard Ligatures and Swashes. Aquabay has an authentic shape like typical handwritten so this font is perfect to apply to the casual and cute design. This font will be perfect for posters, branding, name cards, website, books, comics, presentations, or packaging designs. What are you waiting for? Download now Aquabay font and make your design artwork more wonderful! Thank you for checking and visiting our store, and feel free to drop me a message if you had any questions! Visit our Instagram :) www.instagram.com/scratchdesignbali